The four-wheel drive pulls up and we pile out – Marco Pallanti’s two Jack Russells (Bach and Masetto) leading the charge as they tumble down and into the vineyard in front of us. The vines stretch down a steep slope, three triangular slithers slanting severely to a point, forming a natural amphitheatre, and Siena’s iconic tower just visible on the horizon, 20km to the south. CEO Lorenza Sebasti, her and Pallanti’s son Arturo, our Buying Director Corentin Margier and I are standing in Castello di Ama’s Montebuoni vineyard, which gives its name to their Riserva bottling. It’s the final stop in our tour of the various sites that make up the property’s 75 hectares of vines.  Just tasting Castello di Ama’s wines tells you that this is a special place, but of course there is no substitute for getting your feet on the ground, walking the vines and seeing the site yourself. Since four Roman families re-discovered this hilltop site in the 1970s, it has been lovingly restored, with significant investment in the vineyards and winery – and the original 55-hectare estate has grown to 115 hectares today (with 75 hectares of vines and 40 of olive groves), not to mention the extensive art collection that dots the property.  The vineyards are spread across four valleys, with each site within a 1.5-kilometre radius of the winery in Gaiole-in-Chianti. For winemaker Pallanti, this proximity is one of the keys to quality, not only allowing them to really understand each site, but also ensuring there is minimal time between picking fruit and getting it into the winery. For each parcel, they aim to have the fruit in the tank in under two hours. The property all sits between 420 and 530 metres above sea-level, on the higher side for the region and another defining element for Castello di Ama, lending their wines great freshness and finesse.  The northern flank of the estate is the 16.1-hectare La Casuccia, dominated by stony clay soils and surrounded by stone walls. Here the “rich, fat soil” (as described by Arturo Pallanti) is home to largely Sangiovese, with one historical parcel of Merlot. The tenderloin of the property, it produces opulent and expressive wines, and a single-vineyard Gran Selezione is made in only top vintages (as for Bellavista).  Moving south you come to San Lorenzo which forms the foundation of the eponymous Gran Selezione, a wine made every vintage. While the vintages from 1982 to 1990 were made exclusively with fruit from this vineyard, it has evolved to become a blend of plots – including fruit from Bellavista and La Casuccia in particular in the years they aren’t made. The soils here are chalky yet with plenty of clay-rich schist – a site that doesn’t have the extremes of Montebuoni, Bellavista or La Casuccia, but brings together some of the best characters of them all in its 16.5 hectares.  Sandwiched between San Lorenzo and Bellavista lies L’Apparita, the special three-hectare plot of Merlot that is behind Tuscany’s first – and one of its most iconic – Merlot wines. Clay, chalk and the altitude (500 metres) create a wine that has both power and freshness. The neighbouring Bellavista produces some of Castello di Ama’s most powerful, yet fine and floral, wines – and is home to their oldest vines. South/southwest-facing, its 22.5 hectares of vines (around 80% Sangiovese, with the remainder Malvasia Nera) bask in the sunshine, sitting in stony, clay-chalk soils. In top vintages, they produce a single-site Gran Selezione from Bellavista (first made in 1978) – an impressive and age-worthy wine.  The final piece of the puzzle is Montebuoni – where we’re standing. Pallanti and Sebasti purchased this 14.7-hectare slice of vineyard in 1997, naming it after the village opposite. Arturo tells us how as a child he once tried to ride his bike up the slope – a mistake he never made again. The gradient here is so drastic that even driving down it in a pick-up frays the nerves, working from the chalky scree that feels destined to leave the wheels skidding, down to the more clay-rich foot of the vineyard. The vines here are divided between Sangiovese (around half the site), with Merlot, Cabernet Franc and Malvasia Nera – and the wines reflect the site’s angular slopes, pointed and driven with a backbone of bright acidity.  It’s been over 40 years since Pallanti arrived at the estate, and over 30 since Sebasti took over as CEO. Together they have nurtured this remarkable property, weaving together the threads of these special vineyards to craft wines that set the benchmark for the region. Neither are set to retire any time soon, but now Arturo has returned to join the family business – adding to the complex patchwork that defines this soulful estate.  Explore all Castello di Ama listings or read more Editorial 

We have long championed the wines of Castello di Ama – an estate that crafts some of Chianti, and Tuscany’s, best wines. We visited the property to dive into their special terroir; here we walk you through their patchwork of vineyards       

Walking you through top Chianti Classico wine estate Castello di Ama’s terroir – visiting La Casuccia, San Lorenzo, L’Apparita, Bellavista and Montebuoni

Exploring Castello di Ama’s vineyards

Piecing together the puzzle at Castello di Ama

It is little wonder there has been a veritable tequila gold rush, after celebrity-backed brands have sold in excess of $1bn, and the category continued to report double-digit growth during a global pandemic. This growth wasn’t just at the entry level – as some might expect – as online sales of reposado, añejo and extra añejo soared in tequila’s biggest market, the US. The thirst for premium-and-above tequila falls to 163 certified tequila-producing companies and 8,000 agave producers, which is not as easily sated as some might think when your agricultural product takes years to mature in the ground and in barrel. While category growth is undeniably cause for celebration, artisanal producers like Clase Azul are struggling to meet demand. Production is so time and labour-intensive that, with increasing popularity, Clase Azul is considering an allocation model in the UK, as already employed in other markets. The brand’s distinctive hand-painted decanters take two weeks to produce, made by local artisans from the Mazahuas, in the town of Santa María Canchesdá. Before bottling, the organic, non-genetically modified Blue Weber agave takes nine years before it can be harvested, 72 hours to cook, and the Reposado and Añejo are both aged in ex-Bourbon casks for eight months and 25 months, respectively. Clase Azul Ultra – their top tequila – is aged between five and seven years in ex-Sherry casks, making it a popular choice for whisky lovers. Founder Arturo Lomeli is adamant he doesn’t want to streamline any of this process and compromise on quality. “In terms of the quality," Chantal Serrano (Prestige Account Manager for Spirit Cartel, the company's UK distributor) explains, "if you really want to have real agave quality with all the certifications – organic, non-genetically modified – there’s going to be a point when you are limited.” Clase Azul already has a Mezcal offering that is made from wild, 12-to -15-year-old Cenizo agave which can only be harvested once a year. The Cenizo is slowly roasted using firewood and volcanic rock, then milled by hand using an axe. Next it is fermented using stone piles with red oak and double-distilled using an alembic copper still known as El Viejo.   Premium-and-above tequila has been reporting double-digit growth for the past five years, but some still do not afford it the respect it’s due, according to Serrano. “I think if you told some of the biggest producers of Cognac that you were going to shot it, then I think they will be scandalised. Tequila might not have been aged in a barrel for as long as some whiskies, but the plant had to mature at least on average for five to seven years and, for some producers, like Clase Azul, it is nine years, so appreciate that.”  It is increasingly difficult for producers to have this conversation with consumers when some companies are being forced to cut corners to meet the seemingly unquenchable thirst for all things agave. The use of diffusers to process, in many cases raw, agave piñas so the sugars can be fermented and distilled more quickly has become a popular way of circumventing the challenges. While diffusers are undeniably effective in extracting the potential fermentable sugars – 99% to the traditional brick oven and tahona method’s 70% – the change in flavour profile is not always a favourable one.   “The only objective is to extract as much sugar as they can from the agave,” Serrano laments. “And I can sort of understand why they do it because there is such a huge demand… but you then sacrifice quality.   “Unmatured agave or very young agave is being used in the production of these diffusers. Even some chemicals will be used sometimes. Because of the whole process, certain bitter flavours will be there that ideally need to be removed so you potentially even add some flavours to make it feel like it was a real product.”  For Serrano, the two products are like day and night. “You cannot compare [diffuser products] to a product that has been aged for many years. The producer took the financial risk of having that capital sitting there and waiting for it. It takes a lot of time to create a good product, but that is also the beauty about it.”   The involvement of celebrities in the industry has done wonders, shining a light on the category – but it can also confuse consumers, according to Serrano. “Because Clase Azul is a luxury product, a lot of people think we are just focused on the marketing and the image,” she says. But the company is focused on much more than branding, with a clear commitment to its community.  Clase Azul was set up by Guadalajara-native Arturo Lomeli after he identified a gap in the market for a higher-end tequila to be sipped and savoured, much like a whisky or Cognac. Lomeli favoured the fruitier, sweeter and floral notes a Highland tequila imparts versus the typically peppery, spicy and vegetal notes from the valley (Lowlands). As such, he set up shop in Jésus María, a small town near Arandas – one of the highest points in the Jalisco highlands.  Clase Azul is in esteemed company with a Positive Luxury Butterfly Mark for its sustainable efforts. Glenmorangie, Macallan, Château d'Yquem and other luxury drinks brands boast the same. In addition to reducing its plastic and water use, the decanter can be upcycled, and Clase Azul tries to work with fair labour providers and sub-contractors. “Clase Azul try and implement all these measures with the same aim of giving something back and being a bit more responsible as a brand,” Serrano adds.   Sustainability has become increasingly important as drinkers increasingly consider a brand’s environmental impact as part of their buying decision. While this is something that is encouraged by many producers, it can lead to some slightly less robust claims in the industry, according to Serrano.   “It can be frustrating because some brands might say, ‘Oh we do give back to our community or a charity, or we do one specific action and they think look at us we do a lot of sustainability,’” Serrano says. “Whereas, for me, Clase Azul really embodies these values. Arturo Lomeli, from the start, wanted to give something and be sustainable. It was not just a trend and he thought ‘let me do it’. He’s been doing it almost from the beginning with the brand.”  The demand for aged, sustainable tequila is clear and Clase Azul is well positioned to go toe-to-toe with anybody in a battle of style versus substance.   Discover more about Clase Azul or read more Editorial 

In a world filled with big brands, Clase Azul is a tequila producer looking to do things differently. Holly Motion finds out why the artisan brand is determined for tradition to trump trends

Exploring how the highly collectable artisan tequila Clase Azul is doing things differently by honouring tradition rather than following trends.

Exploring artisan tequila producer Clase Azul  

Authentic agave: Clase Azul

Prunotto’s Emanuele Baldi has an encyclopedic knowledge of Barolo. Listening to his stories about the last century in the region is fascinating, providing context to how and why Barolo and the surrounding Piedmontese regions have developed as they have. Perhaps one of the biggest developments over this time was the birth of wines from a single Cru or vineyard.  A trend that Prunotto, along with Vietti, started in the early 1960s, these single-vineyard wines completely transformed how Barolo was sold. Today it is rare for producers not to sell both single-vineyard wines as well as their Barolo “Classico” made from a blend of vineyards and regions. But this trend wasn’t necessarily Prunotto’s intention, believing only certain vineyards had the capacity to produce wines as complex as those of the blended Barolos the region had become famous for. It was Prunotto’s winemaker at the time, Beppe Colla, who came up with the idea, inspired by a trip to Burgundy with both Vietti’s Arturo Bersano and the famous Italian wine journalist, Italian gastronome and intellectual Luigi Veronelli. On discovering the region’s obsession with terroir and single-vineyard designations, they recognised the link between the region’s complex soils and wine - something familiar with certain Barolo Crus, which has a distinct imprint. The concept of the single-vineyard Barolo was born. The transition to producing a single-vineyard Barolo was not such a difficult progression, since back then Barolo producers like Prunotto were based in the city of Alba, rather than the vineyard hamlets themselves. Following the harvest, the grapes were brought to the town square on carts and for many grape growers it was only at this point that they bartered their goods with the town’s wine producers. Winemakers, Baldi told me, would famously bargain for the grapes. They would often complain that the prices were too high and that they should come back tomorrow with a better price, with the grapes already decomposing in the growers’ carts. The growers had little option but to drop their prices before their crop became worthless. Prunotto, along with the likes of Pio Cesare, was one of a handful of prestigious producers happy to pay a premium for the best grapes. With no bargaining, they saved precious time (preserving the quality of the fruit), while also securing the cream of the crop. Because different smallholders brought their separate carts of grapes, it became easy to identify the different qualities depending on the vineyards they came from. Initially, Prunotto found the Bussia grapes stood apart from the rest – which is why it became their – and the region’s – first single-vineyard Barolo (along with Vietti’s Rocche di Castiglione) in the 1961 vintage. But why did the Bussia vineyard stand out, earning a solo bottling? The historic region of Bussia (which today represents Upper Bussia) is a perfect amphitheatre of vineyards, in which different parts of the same vineyard produced grapes with different, complementary characteristics that together create a complex wine when fermented.  Baldi feels that Nebbiolo is typically best when it is a blend of different vineyard sites. Most Barolo vineyards on their own, he thinks, don’t provide the balance, intensity, and complexity of a multi-site blend. “Each of the individual vineyards are like parts of an orchestra,” he explains. Each vineyard adds a layer of complexity, whether it be perfume, tannic structure or a rich mid-palate which, if on its own, would be too simple. “Have you ever listened to hours of music played just by a double bass?” Baldi quips. “But some vineyards in Barolo are an orchestra in themselves.” And this is exactly what he, and Prunotto, feel is true for upper Bussia – an amphitheatre that can produce something truly distinct and complex. For Prunotto it is Bussia’s “grace and balance” that sets it apart. Upper Bussia is situated right in the middle of the two dividing styles of Barolo: to its east are the vineyards of Serralunga, known for their tannic structure and power; to its west are the vineyards of La Morra and Barolo, known for their elegance and florality. Upper Bussia is one of the perfectly situated Crus (similar to Cannubi and Rocche di Castiglione), capturing the best of both these styles.  The estate’s two flagship wines – Barolo Bussia and Barolo Riserva Vigna Colonnello – are both from Upper Bussia. Following the success of their 1961 single-vineyard Bussia, Prunotto went on to produce many other single-vineyard cuvées, including the Crus of Ginestra, Cannubi and Barbaresco’s Rabaja and Montestefano, but the winery always kept going back to Bussia, which has become its spiritual home. That’s also why, upon their arrival at Prunotto back in the late 1980s, the Antinori family immediately focused their attention on the Bussia Cru, purchasing seven hectares in the area. Barolo built its reputation on its blends. More often than not, these multi-vineyard blends are wines of fantastic complexity and balance. Today, however, most Barolo producers’ single-vineyard Cru wines are their most prized (and expensive) wines.  Clearly, top Crus such as Bussia, Falletto, Villero, Monprivato and more have developed a huge following amongst collectors and connoisseurs. Prunotto’s and Vietti’s pioneering leap, introducing the concept of single-vineyard wines to the region, brought a new layer of complexity to drinking Barolo. It’s even prompted cartographers to map out the region in extraordinary detail. While multi-site blended Barolos remain an important benchmark for the wider region, showcasing each producer’s blending skills; the success of the Crus in Barolo has left the drinker with a lifetime of discovery – exploring the many different nuances of each single Cru. Browse all Barolo listings

Prunotto was one of the first Barolo estates to produce a single-vineyard “Cru” wine – kickstarting a trend that has transformed the region. We spoke to Emanuele Baldi to find out what inspired the estate

Prunotto was one of the first Barolo estates to produce a single-vineyard “Cru” wine – kickstarting a trend that has transformed the region. We explore 

The birth of Barolo’s Crus

Adrianna Catena (Catena and El Enemigo) – 1999 La Tache, Domaine de la Romanée-Conti “Christmas in Argentina is a summer affair – the days are long, and the heat is intense. This year we will gather with family and friends at our home in Mendoza, spending the day together – lunch and a siesta – before dinner on the 24th. I live far from my parents and these are special moments, so we pick our wines for the memories too! They'll include an Adrianna Vineyard White Bones Chardonnay (my mother's favourite), and some Nicolás Catena Zapata (1999 or 2004, perhaps). My father also has a Burgundy collection and always makes a trip to the cellar at some point in the evening, reappearing with a cheeky smile and something extraordinary – like a 1999 La Tâche. For the end – what we call the sobremesa, that long and magical moment after the meal when we are all still gathered at the table, sharing old stories and laughter – a 2008 Vin de Constance.”  Isabel Ferrando (Domaine Saint-Préfert) – 1990 Châteauneuf-du-Pape Cuvée Spéciale, Domaine Henri Bonneau “What I love! First Champagne – maybe a great bottle of aged Champagne, either Selosse or Agrapart (the opposite of Selosse). Ideally around 20 years old – for aperitif. After that a white Burgundy – maybe a great Meursault or Puligny-Montrachet. I love Henri Boillot’s Clos de la Mouchère, that would be a great choice. For the red, it is going to be the 1990 Châteauneuf-du-Pape Cuvée Spéciale by Henri Bonneau because I love this man. I remember him with a lot of tenderness and it will be a lovely bottle to share with the family. And to finish a 1995 or 1997 Sardat Mallet, which is a lovely sweet wine from the Languedoc-Roussillon... Then for New Year I think probably L’Ermita from Alvaro Palacios. I don’t know which vintage I have in my cellar and an old bottle of Ch. Latour for sure. For a white wine, it will be a German Riesling from Markus Molitor. The spirit of opening wines, opening to a new world. I love that! And it is me who is doing the cooking – capon, fish and truffles.”  Matthieu Mangenot (Domaine Long-Depaquit) – 1995 Ch. Lafite Rothschild “Christmas usually offers the occasion to open a wide variety of wines, especially when the family come from various parts of the planet (Washington DC, São Paulo, various parts of France…), bringing back a few fun things. But when it comes to eating and celebrating, serious things are beginning and I can’t skip Burgundy, at least for a part of the banquet! 2016 Chablis Grand Cru La Moutonne, Domaine Long-Depaquit in magnum would be a perfect candidate to pair with our Christmas dinner, especially the seafood part. I love the pure and saline expression of the Chardonnay in Chablis and the fleshy-zesty character that La Moutonne shows with ageing, a combination of structure, refinement and elegance. This 2016 vintage also has a personal meaning for me for two reasons: first because the climatic conditions in spring 2016 were dramatic with a major frost that really made this vintage difficult to make, as well as a rare and unique product. But also because my son Léon was born just before harvest, so this vintage is his! While re-exploring my personal cellar, I came across a bottle of 1995 Ch. Lafite Rothschild, remaining from a series of six I was offered while a trainee at the estate in 1999. I think it is high time to celebrate more than 20 years of activity as a winemaker and we will take this opportunity to pay tribute to this monument from Pauillac! Other wines I will be opening include 2015 Domaine de la Chevalerie, Cuvée Bretêche Rouge, 2019 Crozes-Hermitage Cap Nord, Domaine Combier and 2018 Meursault, Chevalières, Domaine Henri Germain. I like this domaine for it’s personal vision of Meursault, insensitive to more trendy styles.” Luca Martini di Cigala (San Giusto a Rentennano) – 2009 L’Apparita, Castello di Ama “Marco Pallanti and his son Arturo from Castello di Ama visited us in late October, then we visited them a few days ago. I swapped some older bottles of San Giusto with a 2007 Chianti Classico Vigneto Bellavista and a 2009 L’Apparita especially for this year’s Christmas table. The 2007 vintage produced very powerful wines and despite expectations has got good ageing potential but is already drinking well. The 2009 is a medium-power vintage, easy to drink in a relative short time but now in perfect condition. We are looking forward to drinking both this Christmas.”  Desiree Reid (Cardrona) – N.V. Cardrona Otago Pinot Cask, Single Malt Whisky “The day will start with a glass of Bollinger, while the children open their stockings, and the Christmas ham bakes in the oven. Later that evening I’ll finish with a dram or two of the Cardrona seventh birthday release – Otago Pinot Cask. The perfect way to finish a Southern Hemisphere Christmas.” Alvina Pernot and Philippe Abadie (Domaine Alvina Pernot) – 2014 Champagne Cédric Bouchard, Roses de Jeanne, La Haute Lemblé Blanc de Blancs “We love Cédric Bouchard’s Champagnes because he works his Champagne cuvées in the same way as what is done in Burgundy. Each bottling is one terroir and one vintage. For the reds we will be opening 2012 Petite Siberié from Domaine du Clos des Fées – a great producer from the Languedoc-Rouissilon as well as a 2010 Vega Sicilia Unico and a 2005 Ch. Haut-Brion.” Marco Ferraresso (Guado al Tasso) – 2013 Guado al Tasso Matarocchio “I have always spent the Christmas holidays at home with my family. It may seem trivial but it is an opportunity to open something of my own with them, as the rare times I haven't done so they almost got offended! This year will be an opportunity to let them taste the 2019 Guado al Tasso which represents a lucky and sought-after vintage for me. Lucky because mother nature has been merciful, sought-after because it goes in the stylistic direction that we like for this wine. Another wine that I would like to open for them is 2013 Matarocchio. With this vintage the Cabernet Franc has kept a strong varietal identity with a beautiful balance between acidity and tannic structure, a wine that should be in its full maturity and with which I hope to give a moment of happiness to my loved ones."  Christian Leusder (East Asia Whisky Company) – Ch. Rauzan-Ségla “It's really the simple stable stuff that takes centre stage during Christmas drinks. To start the evening a nice crisp Yebisu, Asahi SuperDry or a Suntory Premium Malt. The main course usually goes well with sake or red wine, depending on the cuisine of course. My favourite reds this year are Ch. Rauzan-Ségla's Margaux or Ch. Pape Clément from Pessac. When it comes to after-dinner drinks: the one and only Christmas spirit is Irish. Nothing beats a Baileys to remember what Christmas tasted like when you were allowed a sip of what the grown-ups were having once a year.”  Read more Editorial

Christmas and the New Year offer the perfect opportunity to open special bottles with family and friends – but what do the people behind the world’s finest wines and spirits drink? We caught up with some of our favourite winemakers and distillers and asked them what they will be uncorking – and why

We find out the special bottles some of our favourite winemakers and distillers are uncorking this Christmas

What producers are drinking this Christmas

When Au Bon Climat founder Jim Clendenen unexpectedly passed away on 15th May 2021, aged just 68, there was an outpouring of sorrow. FONDATA’s Gavin Lucas considers how the one-of-a-kind bon vivant shaped Santa Barbara and California’s wine scene today

Gavin Lucas looks back on the life and times of Jim Clendenen, California’s original wild boy and a pioneer of fine Chardonnay and Pinot Noir in Santa Barbara

The legacy of Jim Clendenen – Au Bon Climat

The legacy of Au Bon Climat’s Jim Clendenen

Arturo Pelizzatti Perego

Italy

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Set all at market

represents all the wines you currently have in your Portfolio that aren't stored with us. Press the

My cellar

Name

Net price

New portfolio available

New portfolio

You do not have any invoices at this time.

shows all the items from your Portfolio that are currently on the market.

On sale

shows all the items you currently have in your Portfolio. You can perform individual actions on them from this page.

Overview

shows any items that are currently awaiting user action.

Pending

This is the dynamic estimated value of the item with trading margin removed.

This is the amount of profit you will receive if your listing sells.

Pre-authorised payments enable automatic transactions on your behalf, ensuring seamless and hassle-free payments. This allows recurring charges, subscriptions, or scheduled payments to be processed without manual approval each time.

The number of cases you wish to place on sale

Your catalogue item will be archived. Are you sure you want to continue?

Your catalogue items will be archived. Are you sure you want to continue?

Before you request delivery, you can adjust the quantity for each item in your selection below.

* At time of sale a 15% trading fee will be deducted from the final sale price.

Total estimated value*'

The fixed custom price you wish to sell each item for.

Split into {caseSize} individual {bottleSize}cl bottles.

Title

shows all the items you currently store with us. These items can be sold.

Available for sale — items stored with {name} eligible to be listed on the marketplace.

Profile

This item is at Vinfolio, available for storage or shipping. For more information on shipping and handling visit vinfolio.com/shipping

This item is at FINE+RARE HOME Hong Kong, available for delivery or local pickup. Most Hong Kong deliveries can be made within 3 working days, an exact date will be available when arranging delivery. International deliveries have longer lead-times, please contact us for details.

Wines sold en primeur will be released from the producer after bottling, typically 18 months after the so-called campaign ends. Upon arrival your wine will be stored at Vinfolio in our temperature-controlled warehouse until you decide to take delivery.

We will source this item at the guaranteed price from our network of suppliers and arrange expedited shipment to FINE+RARE.
 The lead-time depends on many variables, but 2-4 weeks is typical for expedited sourcing.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

When a wine is on "pre-arrival", it means that we have a confirmed order on the bottles from our supplier and we are simply waiting for the winery or distributor to ship the wine to us. The delivery timeframe for pre-arrival wines varies significantly, depending on where the wine is coming from. We will notify you once they arrive at our warehouse and, at that point, you can decide to arrange shipping or list them for sale.

Arturo Pelizzatti Perego

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