Vega Sicilia is undoubtedly Spain’s most famous winery; a true icon in fine wine with a history dating back to 1864. Its success in retaining such a reputation, and in almost complete isolation in the Ribera del Duero region of Spain, is testament to the quality and consistency of its production, although its history has not been without its challenges. Vega Sicilia claims to be one of the longest-aged and longest-lived red wines in the world, with its flagship Unico capable of maturing in bottle for well over sixty years under the right cellar conditions. Developing its style in such solitary conditions has created a wine distinct from any other and whilst the Ribera region has flourished with the establishment of wineries such as La Pesquera in the 1970s and more recently the cult wine of Pingus, Vega Sicilia today remains at the apex of the appellation.  We explore the history of Vega Sicilia, the secrets behind its success and the changes afoot as it attempts to retain the traditional methods it has become famous for whilst modernising the winery and updating its processes. We also explore the contrasting range of wines it produces from the Valbuena to the Unico Reserva Especial: Vega Sicilia’s nod to the traditional Spanish practice of producing multi-vintage premium blends. The history of the estate The estate that would become known as Vega Sicilia was founded in 1864 by Don Eloy Lecanda Y Chaves, a Spanish vigneron who inherited the property in 1859. After visiting Bordeaux he brought cuttings of the Bordeaux varietals of Cabernet Sauvignon, Merlot, Malbec and Carmenere, as well as Pinot Noir, and planted 18,000 vines at the estate in Ribera del Duero alongside the native varietal of Tinto Fino (Tempranillo). By 1882 he had planted 500,000 vines on the estate, at the time known as Bodegas Lecanda.  The introduction of Bordeaux varieties was perhaps not that unusual at the time, since the Bordelais were becoming more and more influential in Spain (most notably in Rioja) having disbanded their operations in Bordeaux following the phylloxera outbreak and were actively looking for alternative regions to grow their grapes.  However, in Rioja, the Bordeaux varieties were soon replaced by the native Tempranillo which proved a much more reliable and profitable choice. Whilst Don Eloy Lecanda Y Chaves initiated a winery that was to change the history of fine wine, he was initially using the grapes to make brandy rather than still wine. Although the brandy was well received amongst the aristocratic families (no doubt piquing the interest of the Herrero brothers), the estate struggled financially to make ends meet and he died in 1894 never to witness the success of his venture.  The property was bought by the Herrero brothers in the early 1900s who renamed it Vega Sicilia. As phylloxera eventually reached Rioja, the négociant Cosme Palacio was looking further afield to maintain supply for his customers. On discovering Vega Sicilia, he immediately rented the property from the Herrero brothers.  He brought with him winemaker Domingo Garramiola Txomin who introduced the Bordeaux techniques of ageing wine in barrique as well as extending the élevage. He also initiated bottling the wine on the estate (Cosme Palacio was previously shipping the wines in bulk to Rioja).  The Herrero Brothers were a well-connected upper-class family who were galvanised to produce a wine of exceptional quality no matter the cost, to sell to their aristocratic friends. This quest for quality combined with the skills of Domingo Garramiola Txomin, as well as the unique combination of Bordeaux varieties and Tinto Fino (thanks to Don Eloy Lacanda Y Chaves), was the perfect recipe for producing Spain’s first iconic wine – Vega Sicilia Unico. The first vintage of Unico was produced in 1915.  Thanks to the connections of the Herrero brothers, within two decades Vega Sicilia had become the most revered winery in Spain. Even at this time the wine had built up a reputation for its extraordinary ageing capacity. At Vega Sicilia the Bordeaux varieties became a key component to their flagship wine of Unico and have remained in the blend right through to the present day. Throughout this time, the property became almost a self-contained village, with a school and chapel on site and many of the families working at the winery and living on the estate. Despite the winery changing hands a number of times over the last century, Garramiola’s legacy has lived on through the winemakers that followed in his footsteps; figures like Martiniano Renedo, who was initially Garramiolo’s assistant, and especially Jesús Anadón, who was instrumental in maintaining the quality and reputation of the wine through the middle of the 20th century.  Amazingly there are workers on the estate today whose families have worked at the winery for generations. Today the master cooper at Vega Sicilia, along with his brother Jesus Yanez, is the fourth generation of his family to work at the property. The winemaker between 1968 and 1998, Mariano Garcia, was the son of one of the farm workers on the property.  Despite its global reputation, its exclusive allocation list and long history, the winery and vineyards went through bouts of dilapidation during the 1950s, through to the late '70s, whilst at the same time producing some of the most legendary vintages. On purchasing the property in 1982 the Álvarez family began to make huge investments into the estate, renovating the winery and carrying out an extensive replanting program in the vineyards. 1982 was also the year Ribera del Duero was awarded its DO appellation status and no doubt helped further promote Vega Sicilia as the historical icon of the region. The winery and the appellation has never looked back since.  In the vineyard Vega Sicilia is situated on what is known as the “golden mile”, a stretch of road between Pañafiel and Tudela de Duero, where the prestigious wineries of Vega Sicilia, Pingus and Pesquera are all situated. Driving through, it is a somewhat underwhelming sight as far as vineyard vistas go, so much so you could almost pass through it without noticing.  Being an altiplano there are no sweeping mountainous views, you only feel the altitude from the freshness of the air. In the higher vineyards of Soria at the edge of the Ribera appellation you are rewarded with more vistas, as well as a sense of history with evidence of prehistoric cave-like dwellings where farmers sheltered from the extreme climatic conditions of this largely desolate region.
 Whilst there are pre-phylloxera ungrafted vines dating back over 100 years dotted around the region, the vines at Vega Sicilia - with vineyards at 700 meters - average around 35 years of age. Vega Sicilia have an extensive replanting scheme in their vineyards preferring the quality of their fruit in their mid-life as opposed to old age, with typical vine age in Unico around 60-65 years old, with the younger vines going into the Valbuena cuvée. The high altitude and continental climate mean extreme conditions are at work in the vineyards. Winters can be very cold whereas the summers can be fierce. Most notably in regards to grape growing, due to the altitude, there is a huge diurnal shift in temperatures from day to night helping to retain the acidity and freshness in the grapes whilst reaching high levels of ripeness. The main grape in all Vega Sicila wines remains the Tinto Fino (the particular clone of Tempranillo) distinct to the region. The Tinto Fino is said to produce smaller berries with higher concentration of tannins compared with the Tempranillo grown in Rioja. The Unico also has a proportion of Cabernet Sauvignon in the blend (anything from 6-20% in more recent releases) with a higher proportion in older vintages. In the Valbuena, the majority of the blend is Tinta Fino with a small amount of Merlot (typically 5%) . The property is huge in scale with 200 hectares of estate-owned vines producing anything from 40,000 to 100,000 bottles of Unico each year depending on the vintage.  
In the winery
 Unico  The style of the flagship cuvée of the winery has remained virtually unchanged since its inception in terms of production, although assemblage has modernised. Élevage times have reduced and the influence and proportion of Bordeaux varieties has become less in more recent releases.  In the past, Unico was only made using huge 40,000-litre fermentation tanks (this was all that was available at the winery) therefore in a difficult vintage, if this sort of volume was not possible at the quality level they expected, then no Unico would be released that year. Since 2010 the winery has introduced smaller 8,000-litre tanks, enabling smaller micro-vinification of their wines and suggesting a release of Unico every year (in varying quantities) is more likely. The winery today operates at a spec similar to the top estates in Bordeaux. They have introduced 81 separate fermentation tanks allowing them to carry out intra-plot fermentation. They have introduced highly sophisticated sorting tables, there is more temperature control of the wine and the winery is now completely gravity fed enabling greater precision when it comes to winemaking.   Following fermentation, the wines destined for Unico are blended in small oak barriques (50% French oak / 50% American oak) for 12-24 months depending on the vintage. The French oak is 100% new whilst the American oak, coopered on site, tends to be one to four years old. Following barrique ageing, the wine is then transferred to large old oak casks where it typically matures for five years before being bottled and aged further prior to release. Unico is typically released at 10 years old. Valbuena 5° The Valbuena typically comes from the younger vines of the estate and is aged in oak in barriques for 12-18 months before being transferred to larger old oak casks for a further 18 months prior to bottling. It is then aged for two years in bottle. Valbuena is typically released at five years old. Unico “Reserva Especial” The Reserva Especial is the mythical bottling that initiated the Vega Sicilia legend. It is made up of choice parcels from a blend of vintages (in recent releases it tends to be select parcels from three vintages). Prior to the 2001 release, details of the blends of older bottlings are not very easy to come by. With only 15,000 bottles produced this is the rarest cuvée from Vega
Sicilia and a nod to the traditional multi-blend wines that were typical prior to vintage specific bottlings becoming more popular in the mid to late 1800s. Explore more Editorial

We explore the history of Vega Sicilia, the secrets behind its success and the changes afoot as it attempts to retain the traditional methods it has become famous for whilst modernising the winery and updating its processes. 

The history of Spain's Vega Sicilia iconic wine estate, the secrets behind its success, the contrasting styles from the Valbuena to the Unico Reserva Especial

Vega Sicilia, a Spanish wine icon

Vega Sicilia: a Spanish wine icon

Xavier Vignon could best be described as a maverick winemaker whose inquisitive mind and extraordinary experiments have taken him on journeys all around the world, working on some of the must cutting-edge developments in today’s burgeoning wine scene. Initiated into oenology from a scientific background he has always had the benefit of operating free from the shackles of tradition yet now in his 40th year as a winemaker, his wealth of experience has seen him integrate his science with sensibility, developing an appreciation of producing wine in its most natural form.  We spoke to an initially noticeably weary Xavier Vignon, who is still recovering from a fairly serious bout of COVID-19. However, as soon as he starts to talk about his current projects he becomes distinctly more animated as he begins to describe all the fascinating projects he is currently working on.  This is a vigneron who clearly cannot stay still for long and has a huge drive and enthusiasm for his work. In fact, in his early days as a vigneron he was on the move all over the world working in Australia, South Africa, New Zealand, California for half of the year whilst returning to his native France to work through the harvest in the northern hemisphere. He carried out 40 harvests in 20 years.  His winemaking career started in Champagne before exploring the other wine regions of France, working in Alsace and Bordeaux among others. Coming from a family of stonemasons whose philosophy was to travel when young, he was encouraged to explore the world before settling down. These travels and the variety of experiences working in oenology from one country and climate to the next are surely a vital part of the puzzle for Xavier’s success as a winemaker. It was the Rhône Valley that finally stopped him in his tracks. Admitting he had never really
been interested in the wines of the Southern Rhône, hence the reason he arrived there later in his career, only to find that it had everything he was looking for. A huge variety of terroirs, varying altitudes, an array of grape varieties. This meant lots of freedom in blending (reminding him of his work in Champagne) lots of work on tannins (harking back to Bordeaux) and working in warmer climates of the new world. He was well-prepped to take on the region, setting up his own laboratory and consultancy practice initially advising for 20 – 25 winemakers before it expanded to over 500 in the region. Minerality, water and wine Xavier’s technical skills certainly helped many traditional vignerons to develop their wine
for global export but it also gave Xavier a tremendous opportunity to explore the multitude of wines throughout the region. Xavier became fascinated with things that were clearly evident in tasting so many wines of the region, which his scientific background couldn’t always explain. “Minerality” for example, is a term bandied around wine circles everywhere you go. We all know it exists but science cannot tell us what it is. It is not clear that we even all think it is the same thing, Xavier claims.  He was part of an extensive global research paper exploring what consumers and wine professionals identify as “minerality”. The study interviewed 5,000 consumers and 5,000 professionals resulting in no clear evidence that people were talking about the same thing. The only clear answer was that Chablis had minerality! Half the study thought more about smell, 50% thought about flavour. There is no definition still states Xavier. But this began his fascination with water and for him the key to understanding the secrets of minerality – despite him knowingly accepting he had no scientific data to prove it. This was his first step towards trusting his sensibilities over scientific analysis. For him you need to look to water to understand minerality. 85% of wine is water, water is
a huge proportion of what we taste, he states. Xavier looks to mineral water companies, even beer and whisky companies who have invested much more analysis on the affects of water, than the wine industry, largely because they have more money to do so, but also because water plays a much bigger role in their taste profile (in beer water is 90-95% water compared to wine which technically is 100% grape juice).  In their analysis of mineral salt, bottled mineral waters from different parts of the world have distinctly different levels of each mineral affecting the flavour of the water. Beer companies have also accepted that their beers made in different factories around the world taste different depending on where they are made because of the composition of the water. Whisky famously is obsessed by the quality of its water in regard to the final flavour profile of each distillery.  "So why not wine too?", asks Xavier. In different parts of the Rhône he identifies how high levels of silica in a wine makes the wine taste more acidic. How different chloride minerals provide a flavour of salinity in the wine, magnesium creates bitterness and so on. Scientific analysis doesn’t register the difference, but the difference is extraordinarily apparent when tasting. The effect of water is intrinsic, Xavier believes, to the strong mineral flavours of the Southern Rhône. The wines of the region could never taste like they do elsewhere because of the effect of the mistral. The mistral wind in places (particularly Châteauneuf-du-Pape) is so strong that it evaporates water from the berries, heightening the concentrations of mineral salts the grapes have absorbed in the water from the ground whilst the water evaporates from the berries. Xavier believes Gigondas, where the vines tend to be more protected from the mistral due to the protection of the hills, is less mineral for that reason. Xavier’s fascination with the effects of water on wine was a big reason why he began his
Arcane series, a set of one-off wines that are produced with minimal manipulation. He looks back at some regions he has worked in, stating parts of California and Australia require one to one and a half tonnes of irrigated water just to produce one bottle of wine. This is crazy! Whilst we have the science and technology for this to work, it doesn’t make sense. The Arcane Series of wines by Xavier The first wine made from the Arcane series was called “Le Diable” – translates as “the devil”. It came about when one of the vignerons he was advising took him to a high altitude Mourvèdre vineyard. The winemaker now in his eighties had struggled his whole life to get the Mourvèdre this high up to ripen, never achieving the results to use in his final wine. Xavier convinced the vigneron not to harvest the grapes with the rest of his crop, to leave the grapes on the vine and to see what happens.  It was 2015, a very late harvest already Xavier recalls but this extended Indian summer caused something in the vineyard they couldn’t believe. As the grapes continued to ripen and sugars increase, the acidity also started to go up as well! They had never seen anything like it. Xavier convinced the grower to sell him the grapes and produced the wine made just from these grapes. Xavier took the wine back to the elderly grower, who on tasting the wine began to cry. In his lifetime he had never been able to produce a wine from the vineyard, particularly not a 100% Mourvèdre!  Xavier named it Le Diable, the nickname of the Mourvèdre in the Southern Rhône because it was so difficult to ripen. Xavier knew that what happened in 2015 was unlikely to be repeated. This was a wine that made itself. It was vines in the perfect place at the perfect time and this is what he wanted the Arcane series to represent. Ever since, the Arcane series (now in its 6th and 7th cuvee to be released in the next few weeks) are complete one offs never to be repeated. The story behind the Arcane series informed Xavier’s winemaking philosophy ever since. Whilst he believes we can use science and technology to manipulate wines, he wanted to move away from this, preferring nature to tell him where and when he should make the wine. That hasn’t stopped him experimenting however and there are plenty of other cuvées that
show off Xavier’s inquisitive scientific brain operating at full speed. He is currently working with a winery in Turkey that wants to produce a wine free of any manipulation. Not only organically and biodynamically grown, natural yeasts etc but they even want the fermentation and maturation vessel to have no impact on the wine – he came up with the “vinarium” – a dark glass tank for fermentation and maturation – a natural product that does not infuse any flavour in the wine.  His next experiment is to get rid of closures altogether by extending the neck of the bottle and melting the glass at the top to seal the wine without any other material such as cork to affect the flavour. He eventually wants to create individual wines from individual vines!  He is experimenting with ageing wines both in the ocean and with his own invention of submerging a tank of wine within another bigger tank of wine. He does this with his Châteauneuf-du-Pape Cuvée Ange, comparing the process to a baby in a womb, completely protected from the outside world.  He believes you can age wine like this for 50 years without any need for sulphides or racking because there is 100% humidity and an even atmospheric pressure on the wine all the time. It’s an expensive operation and for the moment not possible for all his wines. But the level of experimentation and inquisitiveness gives you a good impression the sort of lengths Xavier will go to to push the boundaries of modern winemaking. He has no problem blending a Châteauneuf-du-Pape with a Côtes du Rhône village cuvee to make it a better wine only for it to be downgraded to a Vin de France because a Châteauneuf-du-Pape cannot be included in a blend and be titled Côtes du Rhône Villages. His interest lies in how it tastes, accentuating the multifaceted variety and complexity that exists in the Southern Rhône, rather than the traditional restraints of the appellation system. This is a maverick whose wines today are some of the most exciting in the Southern Rhône. Discover all Xavier Vignon listings or read more Editorial

Based in the Southern Rhône for the last 25 years, Xavier Vignon has amassed a huge following from critics and consumers alike, with his wines often scoring in the high nineties, yet remaining extraordinary value. We caught up with him to find out the secrets to his success

Southern Rhône winemaker maverick Xavier Vignon on the secrets to his success and high-scoring wines

Xavier Vignon, a Rhône wine innovator

Xavier Vignon: A Rhône radical

Ch. Belle-Brise is a rather inconspicuous Bordeaux property with a “garden” vineyard of just two hectares and an annual production of just 800 cases. With such small quantities produced and a legion of loyal followers, the wine is little known outside of an exclusive list of top restaurateurs, a few lucky distributors and their clients. Henri-Bruno is the 20th generation of the de Coincy family, famous for their Armagnac production that dates back an incredible 700 years. Despite this impressive lineage, Henri-Bruno's winemaking skills are a much more recent labour of love. Similarly, Ch. Belle-Brise was late to commercial winemaking – an enterprise started by Henri-Bruno when he bought the property in 1991 – despite producing wine since the 18th century. Ch. Belle-Brise is often compared to the Grand Crus of Burgundy and has been referred to as the "Musigny of Pomerol", such is the elegance and weightless power this wine consistently seems to possess. Theories abound about why this is the case. Perhaps it is Henri-Bruno's  Burgundian wife's influence, or the pre-1956 vines, or small-scale operation? For De Coincy, it is all of the above that makes this little wine of Pomerol so unique. The foundations of Ch. Belle-Brise What is really special about the Belle-Brise vineyard is the age of the vines, more than 100 vines are a staggering 120 years old and the average vine age is around 70 years old.   It is rare to find any Pomerol vines that pre-date 1956, as devastating frosts that year destroyed virtually all the region's vineyards. Many vines planted in Pomerol post-1956 were reliable clones but not as good in terms of wine quality. This is not the case at Belle-Brise, where vines either pre-date 1956 or were propagated from the surviving old vines. Outside of Belle-Brise, there are just a few pre-1956 vines dotted around Pomerol and Saint-Emilion – most noticeably at Ch. Lafleur and Ch. Ausone. Old Cabernet Franc and Merlot vines, De Coincy believes, create an overall elegance, finesse and depth of flavour on the palate that is something really special. The Belle-Brise vineyard contains a split of around 80% Merlot and 20% Cabernet Franc. The soil has gravel on the surface and beneath, a layer of clay, chalk and crasse de fer (iron rich bands of sand that play an important role in the flavour characteristics of many top Pomerol wines). Many believe this is responsible for the truffle aromas commonly found in Pomerol wines. Others believe it provides viticultural benefits, limiting vigour and excessive leaf growth, in turn producing smaller concentrated berries. Natural winemaking at Ch. Belle-Brise Despite being an experienced Brandy producer, De Coincy's project in Pomerol required considerable learning on the job and was faced with a challenging start. His first crop in the 1991 vintage was largely decimated by frost, meaning he had very small quantities to work with and likely not enough to sell. This did, however, mean he was able to experiment with the vintage and trial different approaches. Three very challenging Bordeaux vintages followed as Mother Nature threw everything at De Coincy. It was a steep learning curve. When the more successful 1995 and 1996 vintages arrived, the winemaker was ready to produce Belle-Brise in his style, with confidence. The approach is artisan and natural. There is no electricity on site and everything is made much as it would have been centuries prior. The grapes are grown using biodynamic and organic principles, and De Coincy employs horses to work the vines. The grapes are all harvested within one day allowing pin-point accuracy on picking dates. They are then hand-sorted exclusively by women – something de Coincy is insistent upon. Once picked and sorted, the grapes are then left uncrushed in concrete vats in the winery. De Coincy then closes up the cellar and leaves the grapes for five days, so the natural coolness of the cellar retards the fermentation process. After five days, De Coincy returns to open up the cellar. As the heat of the day enters the cellar, the grapes naturally begin to ferment from natural yeasts. De Coincy tends to pump over the juice twice a day over six to 10 days depending on the vintage and then leaves the wine to settle in-tank prior to the pressing of the skins. This traditional method is not very common in modern winemaking as it can run the risk of contamination. De Coincy, however, believes this method helps extract the delicate aromatics from the wine. After this stage, De Coincy carries out a very slow pressing of the skins using an old manual vertical process, which he believes is another vital element in the process that retains a delicate finesse typically found in Belle-Brise. Many of these methods are not possible in larger estates as they are laborious and manual. The Belle-Brise wines are then matured in large 400-litre barrels (one-third new, one-third one-year-old, one-third two-year-old), eschewing smaller barriques which De Coincy feels has too strong an affectation on the wine. The Ch. Belle-Brise drinking window Ch. Belle-Brise has always been a fairly accessible wine in its youth with its compact but soft tannins already beautifully integrated. For De Coincy, Belle-Brise needs five years maturation in bottle before you can really benefit from the full impact of the wine and then, depending on your tastes, it drinks beautifully over the next decade. De Coincy has often served his wine blind to his restaurateur clients and found it has been mistaken for premium Burgundy. The similarity with Grand Cru Burgundy is difficult to fathom, considering the completely different varieties and different climates, yet Belle-Brise does boast the silkiness, finesse and almost weightless power of Grand Cru Burgundy, with a touch more opulence you expect from Pomerol. Ch. Belle-Brise's rarity With a mere two-hectare walled -garden vineyard, production at Belle-Brise is minuscule, making it one of the rarest wines on today's marketplace. The vast majority of liquid never reaches private clients as it is snapped up by some of France's finest three-Michelin-starred restaurants. In fact, 80% of three-star-Michelin restaurants in France (and 25 other countries) list the wine, including Georges Blanc and Alain Ducasse: Le Louis XV. Beyond these locations,  private clients can only source Belle-Brise through FINE+RARE and Vinfolio. Browse all currently available Ch. Belle-Brise vintages, exclusively available through FINE+RARE & Vinfolio, or read more Editorial

We caught up with Ch. Belle-Brise's owner and winemaker Henri-Bruno de Coincy to find out the secret behind this idiosyncratic Pomerol estate  

Ch. Belle-Brise's owner and winemaker Henri-Bruno de Coincy on the secret behind this idiosyncratic Pomerol estate  

Ch. Belle-Brise idiosyncratic Pomerol wines

Ch. Belle-Brise: talking to Henri-Bruno de Coincy

When Jean-Marc Roulot wandered through the family estate’s cellars one, seemingly ordinary day, he happened upon something unexpected. The vigneron had walked the hallowed paths innumerable times during his legendary father Guy’s life and during the 15 years since his sudden passing in 1982. But there, in a long-forgotten corner of the cellars, lay 12 dusty bottles of apricot liqueur. Jean-Marc knew all about his father’s production of pear and apple brandy, and his family tradition of producing marc de Bourgogne and fine de Bourgogne. The still, which he used and remains in operation today, dates back to 1866 and used to be on wheels so the family could move from village to village. So well-known was this distillation heritage, in fact, that Jean-Marc’s mother used to joke that the still paid for their vineyards. What came as a surprise to the actor-cum-winemaker was the existence of L’Abricot. “I had never seen him make this liqueur,” the 65-year-old says. “It was absolutely delicious and I wanted to try to find this recipe.” This discovery in 2008 set Jean-Marc on a mission to reproduce the liqueur from instinct, as no recipe existed, and increase the estate’s staple of brandies, eaux de vie and liqueurs. In some instances, the winemaker was able to follow recipes and meet with fruit producers to reinstate his father’s relationships. For others, he had to forge his own path. “I wanted to reconnect with that [tradition],” he adds. Jean-Marc says he’s always had a passion for distillation, having learned the skill from his father, and feels it has influenced his winemaking. When distilling, Jean-Marc focuses on two things: purity and authenticity. When asked, he says it is of paramount importance that the end product tastes like the fruit. It seems obvious, perhaps, but this is not always the case with overly saccharine fruit-based liqueurs. In order to achieve these two things, Jean-Marc has reduced the sugar levels over time – from 180g/l sugar 10 years ago to 160g/l in the latest iterations. “Sugar is of course a flattering element in a liqueur, but it can also mask the fruit,” he says. “By lowering the sugar levels, I feel like I'm putting the fruit forward.” From more classic pear and raspberry to the most recent addition, lemon liqueur, Jean-Marc says the fruit choices have largely been emotive. “I chose to make a pear alcohol since my father already made this 40 years ago with fruits from the Hautes Côtes de Beaune,” he says. “He was doing the same thing in a much smaller amount with the raspberry than I am doing. For these two fruits in brandies, it is therefore a family tradition.” The pears are sourced from the same site in the Hautes Côtes de Beaune that his father used, while the apricots (previously from the orchards of Chave) come courtesy of Laurent Combier (of Domaine Combier) in the Rhône. While he used to be able to source them locally, raspberries are now hard to find – and these, along with his lemons, come from further afield (Bulgaria and Sicily, respectively). After finding the bottles of apricot liqueur and working with the fruit in that capacity, the idea occurred to Jean-Marc to ferment them to make brandy as well. He’s also turned his hand to lemon liqueur and doesn’t rule out further fruit experimentation, perhaps with grapefruit. When asked about these fruits in relation to terroir, Jean-Marc says he doesn’t think they can reflect their terroir “as well” or “as faithfully” as grapes. “Perhaps this is due to the size of the plant, the density of planting, the attention we pay to the work of the vineyard and all the care we take around the grape when it comes back to the winery,” he adds. “There is generally a ‘signature’ effect in grapes that I do not find in a fruit like pear for example.”  He does, however, think the distillation process has taught him a considerable amount. “As we are mainly winegrowers, we seem to think that our knowledge on this subject has influenced the work on the still, but I sincerely believe that the precision that distillation requires has influenced us in the other direction, towards our work as a winegrower.” One senses Jean-Marc’s discovery of those 12 unassuming bottles all those years ago had a much greater impact on him than merely influencing his production of superlative wines, and now, his fruit brandies, eaux de vie and liqueurs. Find out more about Domaine Roulot or read more Editorial

Meursault-based Domaine Roulot is one of the finest estates in the Côte de Beaune. But it’s not just grapes that cross the threshold at this domaine. Owner and winemaker Jean-Marc tells us about the family’s fruit-based spirits – and how they’ve influenced his winemaking

The famous Meursault vigneron Domaine Roulot on his family’s other project - the family’s fruit-based spirit

Domaine Roulot Meursault fruit-based spirits

A secret still: Domaine Roulot

There’s something unlikely about the pairing of Scotland and Andalusia – the fine single malts of Scotland’s craggy landscape being matured in barrels shipped from the warmth of Jerez, where orange trees line the streets. Together, however, the raw spirit and these barrels – drenched in the complex flavours of the Sherry they previously held – create something all the more special.  Today you’ll find spirits aged or finished in any number of casks – previously bearers of Bourbon, wine, Port, Madeira and more. Sherry casks are, however, the traditional choice – but why?  Well, largely thanks to the Scots’ penchant for Sherry. The fortified wines of this southern Spanish region have been savoured north of the border since the 16th century, although it was a trend for Sherry and rum punches in its clubs during the 18th century that really caused a rocket in sales. Doubtless this was tied to Scottish interests in Sherry, with bodegas in the hands of the likes of Arthur Gordon and George Sandeman (also of Port fame) .  At the time Sherry was – like most wines – shipped in cask, then bottled on arrival. These barrels wouldn’t be the ones in which the Sherry had been maturing (ie they weren’t part of the solera), but barrels explicitly made and used for transport, holding Sherry for a matter of months as it was shipped from Spain to its final destination. This kept the Scotch whisky industry well stocked with a steady supply of Sherry casks being delivered right to its doorstep.  And producers found that these barrels – thought to have absorbed as much as 10 litres of Sherry – delivered layers of complexity to the spirit that fills them, adding notes of dried fruit, nuts and sweet spice. Of course the sort of Sherry that filled the barrel impacts the style of the final whisky. Biologically aged styles – Fino and Manzanilla – are rarely used, while the nutty, spice and dried fruit notes of Oloroso are the most common choice. Pedro Ximénez or PX – the lusciously sweet, almost treacle-like style of Sherry – lends the richest notes to a whisky.  Gradually, however, regional bodies around the world started insisting wines were bottled at source to protect their wines from possible adulteration. And so in the 1980s, the death knell almost sounded for Sherry-cask-aged whisky, as it became illegal to transport Sherry in cask. This, paired with Sherry’s fall from fashion and therefore decreased production, made Sherry casks rare beasts.   But – to the relief of whisky-lovers everywhere – the industry found a solution. Today, the production of Sherry casks for the whisky industry has become a second avenue of income for Sherry bodegas. The barrels are filled with Sherry with the sole purpose of flavouring the cask – either at the bodega in Jerez, or in Scotland (having shipped the Sherry over).   Technically, there’s no definition of “Sherry cask” under Scotch whisky regulations. While casks have to be made of oak and hold no more than 700 litres, the rules don’t specify how long a cask would have to hold Sherry for the term to be used on the label. In fact, at present, the casks don’t in fact have to hold “real” Sherry – and as a result much of the fortified wine used to season casks is from beyond the borders of the Sherry triangle.  “True” Sherry casks are in high demand. Today they can fetch as much as 10 times the price of a Bourbon cask. Given their expense and rarity, it’s no surprise that producers use these casks many times over. However, with each use the impact of the Sherry flavour is reduced – meaning that “first-fill” casks are all the more special.  With such a long tradition, Sherry-cask-aged whisky isn’t going anywhere – but it’s certainly getting harder to find.  Explore all Scotch or read more Editorial

We trace how Sherry casks came to be used for ageing Scotch whisky, and why they’re increasingly rare and sought-after 

Tracing how Sherry casks came to be used for ageing Scotch whisky, and why they’re increasingly rare and sought-after.

Why Sherry butts are rarer than ever

Cask secrets: why Sherry butts are rarer than ever 

Screaming Eagle winemaker Nick Gislason wears many hats – he is also the Technical Director of Lopez Island Community Fireworks and co-founder of Hanabi Lager. FONDATA's Gavin Lucas caught up with the busy man to discuss how these dichotomous ventures have more in common than you might think.

Screaming Eagle's Nick Gislason on winemaking, beer brewing (Hanabi Lager) and designing fireworks (Island Community Fireworks)

FONDATA: Curiosity & Wonder: Magic’s Secret Ingredients 

Curiosity and wonder: magic’s secret ingredients

Bordeaux is incredibly varied – with hugely different styles of wine produced across its appellations. Here, we run through everything you really need to know about each of the main subregions – and the best estates in each  

Explore Bordeaux, subregions, their wines and top estates – in Saint-Estephe, Pauillac, Saint-Julien, Margaux, Graves, Pessac-Leognan, Pomerol, Saint-Emilion 

Your guide to Bordeaux’s subregions, wines and top producers

Your guide to Bordeaux’s subregions   

It’s a damp and foggy morning when I arrive once again in the very quiet streets of Auxey-Duresses for my annual pilgrimage to taste the new Maison Leroy Collection. Last year Madame Lalou Bize-Leroy was in Monaco, so I’m looking forward to seeing and tasting with her again – on what happens to be her daughter’s birthday. Two dogs rush out to greet me eagerly – the 13-year-old black poodle Nine and five-year-old Grand Basset Griffon Vendéen Olga, both quickly quietening down once appeased with some gentle pats. Madame, meanwhile, stands behind them, as elegant and unassuming as ever.   Talking briefly about the state of the market, she repeats how the most important thing is the happiness of our clients. It was at the forefront of her mind when she decided on the wines in this year’s collection, which is dominated by the 2017 and 2018 vintages, with the oldest wine from 2011. It’s good to mix things up, she tells me. After last year’s extensive library release with a flurry of back-vintages, this year she wanted to give the youngsters a chance to shine.  She describes 2018 as a more complete vintage, there is more wine, more matière than 2017; nonetheless 2017 is more refined and delicate, somehow more approachable. We talk about what makes a “grand vin” and she says: “La qualité, c’est les rendements.” (“Quality, it’s the yield.”) Taking Aligoté as an example, she explains that she’ll rarely make as much as 20hl/ha for the Domaine Leroy and Domaine d’Auvenay Aligoté – and for her that’s the limit for producing a high-quality wine. It is impossible to make a good Aligoté at 40hl/ha, she argues – and as she knows from tasting those watery, dilute wines. “I’d actually rather drink water,” she confesses. It’s no secret that her Aligoté is special: and Gilles Desprez (Bize-Leroy’s right-hand man) notes how he was once blown away by a bottle of 1999 D’Auvenay Aligoté served to him blind – a wine that those around the table all thought was a Grand Cru white.  There’s no better judge of a wine than blind tasting – as Bize-Leroy knows. To this day, she blind-tastes everything that makes its way into bottle under the Maison Leroy label. She was recently tasting some 2024s for the range and notes how it’s easy to find a great Nuits-Saint-Georges or Gevrey-Chambertin, but is too often disappointed with Vosne-Romanée and Chambolle-Musigny – struggling to uncover wines in these villages that are worthy of the Leroy seal of approval.  Our tasting begins with the reds this year, starting with an array of 2018s, sampled from south to north, “dans le sens de la Côte” (along the Côte), before moving through the 2017s to a 2016, 2015, 2012 and, finally, the oldest wine in this year’s collection, a 2011 Nuits-Saint-Georges.  The whites include an appellation that she rarely tastes and one that almost never makes it into the range: Savigny-lès-Beaune Blanc. The 2018 in this year’s collection, however, is special – a wine that you wouldn’t be a fool to call Corton-Charlemagne blind, she tells me. And (of course) Bize-Leroy is right: it is sumptuous, with a level of richness and density that far surpasses that of a mere “village”.  With air, it develops further, offering impressive complexity. Madame looks at Gilles: “It’s unfortunate we don’t have any Corton here to compare,” she says. Gilles confirms there isn’t any to hand while she considers the wine in front of her, before insisting – “Are you sure we don’t have any here?” The message is understood: Gilles says there may be some in another building and sets off to find it.   We keep chatting, tasting the 2018 Auxey-Duresses, a little shy after the 2018 Bourgogne Blanc (in her words: “the best Bourgogne Blanc we ever had”) and the superb Savigny. I ask if there are any wines she buys every year – an idea she’s fast to reject: she doesn’t have any contracts, each wine is selected purely on its quality in that specific vintage. I clarify that I meant if there were specific vineyards that she particularly likes, and finds herself buying year in, year out – and says that both Meursault Gouttes d’Or and Chassagne-Montrachet Morgeot are certainly favourites, although it all comes down to how they taste.   Gilles comes back with an unmarked bottle, immediately recognisable by its shape as Domaine Leroy. He is out of breath (earning some teasing, but also having run up and down 200 stairs to retrieve the bottle in question). The wine – a 2018 Corton-Charlemagne from the property – is quickly opened and served. It is typical Leroy: the nose is slightly muted, with some reduction and the popcorn-like notes that you often find in Bize-Leroy’s whites. On the palate, this is what you call packed: I have rarely found such concentration in a Corton-Charlemagne, even in ripe vintages chez Leroy. Madame states that she thinks many would call this a red if served totally blind, given its “matière”. “This is a grand vin,” she says. She explains how special the plot is, at the top of the hill, above her Corton Renardes: “C’est un terroir à rouge.” (“It’s a red terroir.”)   Going back to the Savigny-lès-Beaune Blanc seems like a pointless exercise after the Corton-Charlemagne – but is far from it. The Savigny has benefited from warming up and being open for an hour. In fact, it is far from ridiculous to compare it to its grander sibling. Indeed, Madame Bize-Leroy pauses over it, saying she finds the Savigny more balanced – the wine feeling beautifully layered, yet not heavy or dense. It is by far the best Savigny-lès-Beaune Blanc I have had the chance to try and – as proven by this comparison – would rival most Corton-Charlemagne. Of course, the 2018 Domaine Leroy Corton-Charlemagne is a baby – a wine built to age that will need years before being approachable and Bize-Leroy herself confirms that it won’t be released anytime soon. It has everything to be an exceptional wine in the future, but the Savigny is the one to drink now.  This is my 10th year at FINE+RARE and it’s relationships like this one that define our business: having the chance to share a moment with one of Burgundy’s legendary winemakers, talking openly and honestly about two of her wines, is truly special. Some are fast to dismiss Maison Leroy as “just” Bize-Leroy’s négociant label, perhaps out of ignorance or lack of exposure to the range. I can’t pretend these wines are cheap, but I also can’t pretend that Madame Leroy is like other winemakers. Her nose is remarkable, her access far-reaching, and the resulting wines one-of-a-kind. I can only admire this 93-year-old woman, the way she describes her wines, her humbleness, not to mention the wines that carry her name.  Tasting the 2025 Maison Leroy Collection 2018 Bourgogne Blanc: Maison Leroy’s 2018 Bourgogne Blanc is extremely expressive. Almost exuberant on the nose, it shows concentration, toasted almonds, juicy blood orange and verbena. The palate is equally impressive – and I would be easy to mistake this for a very good Meursault blind. Similarly to its red counterpart, the wine has gained in depth on the palate since we last tasted it. It is lively and expressive, yet with a signature fatness that’s so enjoyable. Madame Lalou Bize-Leroy tells me she has rarely, if ever, had a Bourgogne Blanc of this calibre – and we can only agree at this stage! Drink 2025-2031. 2018 Meursault: The 2018 Meursault from Maison Leroy is less immediately expressive than the Bourgogne Blanc, tasted just before – but don’t let that deceive you. You can feel the tension and seriousness of this wine, with hints of flinty minerality on the nose. The palate is concentrated and refined, nicely balanced and nuanced, with a creamy complexity. Compared to its Bourgogne sibling, this is clearly of a different calibre – a more aristocratic wine with greater density. Although approachable now, it will benefit from another three to five years in the cellar to express its full potential. Drink 2027-2035. 2018 Savigny-lès-Beaune Blanc: Maison Leroy’s 2018 Savigny-lès-Beaune Blanc is packed on the nose. Lovely brioche notes are underwritten by bruised apple and brighter citrus fruit, with delicate touches of lemon blossom. As the wine aerates, it keeps building in density, with layer upon layer – making for a wine that is beautifully fleshy and inviting. On the palate, the wine is so immediately rich and profound – it would be impossible to call this a village wine blind. It has the signature richness of a Corton-Charlemagne, perfectly balanced between power and tension. This is by far the best Savigny-lès-Beaune Blanc I have ever tasted and would be head and shoulders above most Corton-Charlemagne you can find on the market. This is drinking beautifully now but has everything to age effortlessly. Drink 2025-2040. 2018 Auxey-Duresses: Coming from a terroir that can sometime be a bit too flamboyant or invasive, Maison Leroy’s 2018 Auxey-Duresses feels very discreet after the Savigny-lès-Beaune. With notes of fresh almonds and a hint of reduction on the nose, this feels a bit muted. On the palate, the wine clearly has the concentration of the vintage, yet is quite elegant and restrained with a hint of white pepper. This is lovely but will need a few more years to be approachable. Drink 2028-2035. 2018 Bourgogne Rouge: Last tasted in February 2022, Leroy’s 2018 Bourgogne Rouge still displays a very charming, delicately perfumed nose that oscillates between dried rose petals and little red berries, but it seems to have gained in weight and density. It retains beautiful acidity balancing the concentration of the vintage, the finish is clean and vibrant. This is one of our favourite renditions of the cuvée in recent years, youthful and drinking beautifully now, this should keep evolving positively for another seven to 10 years. Drink 2025-2035. 2018 Monthélie: On the nose Maison Leroy’s 2018 Monthélie has beautiful notes of violets wrapped up in a mix of red and black berries, especially blackcurrant. Those very pure and delicate floral aromas carry through to the palate, accompanied by tannins that are very subtle, almost with a hint of sucrosity that makes one salivate. This is a very complete wine that outperforms in this warmer vintage: a wonderful expression of this terroir that, for me, displays the elegance of Volnay with a weightless mouth-feel. Drink 2027-2037. 2018 Volnay: Served just after the 2018 Monthélie, Maison Leroy’s 2018 Volnay has a slightly more discreet nose. It’s perfumed and all about finesse yet a bit shy at this stage. On the palate, there is good concentration and precision, but it does not provide the crunch and freshness that you’d expect at this stage. This is surely elegant and refined, but lacks that little twist that will surely come with a few more years in the cellar. Drink 2028-2040. 2018 Savigny-lès-Beaune: As with its white sibling, Maison Leroy’s 2018 Savigny-lès-Beaune could be mistaken for a Corton blind. It has such a concentrated, solar nose with a darker fruit profile. There’s density on the palate too, the wine fleshy and rich, but not heavy. It’s nicely balanced, with delicate tannin structure and a precise finish. It’s as juicy as it is approachable. Drink 2027-2037. 2017 Gevrey-Chambertin: This was one of the highlights of the 2022 Maison Leroy Collection when it was first released. The wine has retained all its depth, complexity and power, but has shut down a little bit. It is packed with dense dark cherries, hints of sweet spice and forest floor. On the palate the wine offers an enjoyable, mouth-coating, generous and balanced structure, yet the wine feels a bit muted compared to where it was three years ago. This is nonetheless offering a very long finish with fresher note lingering. This is surely a grand village Gevrey that will simply need to be forgotten in the cellar for a few years! Drink 2030-2040. 2017 Pommard: Maison Leroy’s 2017 Pommard speaks of its terroir, combining rich, brooding, ripe blackberry, with hints of blackcurrant and a touch of rusticity, lifted by the freshness and precision of the vintage. On the palate, it has a firm but delicate structure with chewy tannins that are both muscular and velvety. Tasted right after a flight of 2018s, this seems much more approachable (as is often the case with 2017s). The refreshing backbone of acidity drives through the core of the wine, lending a beautiful sappiness to the long finish. Drink 2025-2035. 2016 Santenay, Premier Cru, La Comme: Immediately expressive, Maison Leroy’s 2016 Santenay Premier Cru La Comme comes from this underrated terroir, on the southern border of Chassagne-Montrachet. The charming, multifaceted nose oscillates between raspberry and juicy cherry with a hint of liquorice. The wine is mouth-coating; you can feel the substance here, with a lovely texture that remains delicate and refined. This clearly shows the concentration of the vintage and its tiny yields, but it is all wrapped in a very elegant mouth-feel – creating a wine of great balance. It’s in such a lovely spot now that this is hard to spit out! Drink 2025-2035. 2015 Chorey-lès-Beaune: Packed on the nose, Maison Leroy’s 2015 Chorey-lès-Beaune is quite shy at first, but with a bit of swirling you start to notice how dense and saturated this wine is, with aromas of ripe blueberries, blackberries and a hint of spice (cinnamon maybe?). On the palate, it is concentrated with mouth-coating tannins and layers of berry fruit – raspberry, strawberry and blueberry. This has a lot to say and offer, with an impressively persistent finish, but will benefit from a few more years’ cellaring to reveal its full potential. Drink 2028-2040. 2012 Côte de Nuits Villages: Made with fruit from around Nuits-Saint-Georges and Corgoloin, Leroy’s 2012 Côte de Nuits Villages is always a bit backward on the nose and slightly austere. But it’s also elegant and delicate, the floral notes combining with tertiary notes. On the palate, this feels like it is in a slightly awkward phase, very dense with soft, integrated tannins yet somehow disjointed between the rich dark fruit and a tertiary character. I would leave this for a few more years before revisiting. Drink 2030-2040. 2011 Nuits-Saint-Georges: Finely perfumed, Leroy’s 2011 Nuits-Saint-Georges offers a delicate nose of mixed red berries supported by more earthy notes, some pot-pourri and a hint of spice. On the palate, it’s concentrated and charming, but with air opens further and shows its density, still youthful for a 14-year-old village wine. There’s a hint of rusticity towards the finish that makes one salivate. This is far from the austere expectation one may have for this combination of vintage and appellation. It’s not reached its drinking plateau but is perfectly approachable now. Drink 2025-2040. The new Maison Leroy collection will be released soon: you can see all the wines in the 2025 collection here. Please contact your Account Manager to register interest. 

Each year, our Buying + Partner Director Corentin Margier visits Maison Leroy in Auxey-Duresses to sample the new releases. Here, he reports on his tasting with “Lalou”, the legendary matriarch of the Leroy empire  

Ahead of the release of the 2025 Maison Leroy Collection, we visit Lalou Bize-Leroy to taste with the legendary matriarch and winemaker 

Lalou Bize-Leroy: a living legend – Burgundy’s matriarch 

Lalou Bize-Leroy: a living legend 

Secret Squirrel

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