The Reynaud wines are the stuff of legend. Utter “Rayas” to a certain crowd and they will swoon. The singular style of this iconic Châteauneuf-du-Pape estate – pale, hauntingly aromatic, almost Burgundian in texture and incredibly long-lived – has a fervent following, a clan of Reynaud obsessives keen to seek out everything that Emmanuel Reynaud touched.  The property’s rustic charm – a far cry from the grandiose buildings of many famous estates – combined with the family’s inclination to shy away from their fame, happier quietly farming their vines, has only fanned the flames. Tucked away in the northern reaches of Châteauneuf-du-Pape, Ch. Rayas and its owners are elusive – only making them more sought-after.   There is no shortage of praise for these rare and special wines – whose appeal, given the Reynaud’s minimal-intervention approach, broaches the worlds of fine and natural wine. William Kelley is a loyalist, and is one of several to note how well the property performs in “off-vintages” – where the property’s distinctive profile shines through, above and beyond the vintage and region, revealing their “captivating perfume, sensual textures and eternal youthfulness”. Robert Parker described the 1990 Rayas as “one of the greatest young red wines I have ever tasted”. For Nicolas Grainacher (Vinous), “The substance, finesse and intensity packed into these wines make it hard not to fall in love with them.” Neal Martin (Vinous) perhaps put it most concisely: “God invented wine to drink wines like this.”    The history of the Reynaud empire  In 1880, Albert Reynaud, a notary from Avignon, lost his hearing aged just 45. No longer able to work as a lawyer, he bought an estate in Châteauneuf-du-Pape, in an area called Rayas, where he saw out his days farming vines, apricots and olives. In 1910, his son Louis Reynaud took over running the estate. Louis had studied agriculture in Angers and was particularly interested in viticulture. He uprooted trees to plant new vineyards and bottled the property’s first wine in 1920 – using the name “Rayas”, the name of the forest on their parcel of land. It was the beginning of Rayas as we know it today.  Louis famously added the wording “Premier Grand Cru” to the Rayas labels, a self-pronounced classification of the wine – and notoriously defying the appellation rules (introduced in 1936). Building the property’s reputation and sales, he started expanding the business. Between 1935 and 1938 he bought Ch. des Tours in Vacqueyras, entrusting his son Bertrand with the larger 58-hectare property northeast of Châteauneuf-du-Pape, not far from the town of Orange. Around the same time, he built a new cellar and winery at Rayas, bringing the buildings within the appellation’s boundaries. After the Second World War in 1945, Louis purchased Ch. de Fonsalette, an estate further north of Orange, in Lagarde-Paréol – and, with that, the full suite of Reynaud properties was in place.  By the time Louis passed away in 1978, the Reynaud wines were some of the Rhône’s most famous.  
After his death, his youngest son Jacques took over Rayas and Fonsalette, while Bertrand continued to run Ch. des Tours. With the shift in ownership at Rayas and Fonsalette, quality dipped a little – but soon Jacques was making wines that lived up to the Reynaud name.  The old vines at Rayas, planted on sandy soils, facing north/northeast, surrounded by pine forest, produce wines of exceptional elegance and aromatic finesse, wines with haunting perfume, pale colour and almost Pinot-like delicacy, yet phenomenal persistence and ageability.   Jacques was renowned for being eccentric. A recluse, happiest in the vines and never keen to welcome visitors, he was rumoured to, on occasion, lie in a ditch to avoid journalists or other members of the trade. His aversion to the limelight surely only added to the wines’ allure. He died rather suddenly in 1997, while shoe shopping in Courthézon. Having no children of his own, his nephew Emmanuel – Bertrand’s son, who had been running Ch. des Tours since 1989 – inherited both Rayas and Fonsalette, taking the reins across all three properties.  The transition between Jacques and Emmanuel wasn’t seamless, as Emmanuel renovated the estate and replanted parts of the site, but by the early 2000s quality was once more living up to the Reynaud name. The style has shifted between generations, and while Jacques’s wines were more structured and solid, Emmanuel favoured more sensual, perfumed expressions. Over the last two decades, little has changed across the Reynaud properties – the wines’ mythical status only confirmed with each release. The new generation – Emmanuel’s sons Louis Damien and Benoît – are now continuing the family’s legacy.    The Reynaud philosophy  The approach at Reynaud is old-school – here, tradition reigns. Modern monoculture is not the method – with various crops across the estates, and biodiversity nurtured with swathes of woodland. The vines – all bush vined, many with significant age – are farmed in exactly the way as they’ve always been, organically with minimal inputs, ploughed by horse.  The fruit is all hand-harvested, whole-bunch fermented with indigenous yeast in cement tanks. Since Emmanuel took over, parcels have all been vinified separately. Macerations are gentle, generally under two weeks with a single pump-over a day. Ageing is in large, old oak, with no new wood used anywhere across the properties – indeed the youngest demi-muid or foudre at the estate may well be 30 years in age. Sulphur additions are minimal, with only a small amount at fermentation and a final addition at bottling, with the wines bottled unfined and unfiltered. The method is simplicity at its finest, focused on expressing each site – and the results speak for themselves. The wineries are rustic farm buildings, offering only the basic requirements, with no modern technology employed – and, given the wines produced, not needed.  Grenache is the core of all the Reynaud wines – the grape that thrives in their terroir and is the magic behind Rayas. Beyond Rayas, Cinsault is used to bring elegance and suppleness, while Syrah was long avoided – used only at Ch. de Fonsalette. Louis Reynaud believed the variety belonged in the Northern Rhône, and other than the small portion that made it into the Côtes du Rhône, the rest of the Syrah was sold off in bulk under his reign (often to local restaurants, who used it in their sauces). The Côtes du Rhône Syrah cuvée only introduced under Jacques Reynaud’s tenure, at first sold to the restaurants who had seen its quality in their sauces. There is no Mourvèdre at any of the estates, as Emmanuel Reynaud believed that their soils are too dry for the grape.  The Reynaud wines and estates  The Reynaud family comprises three distinct estates – Rayas, Fonsalette and Ch. des Tours, although Fonsalette doesn’t have its own winery.   Ch. Rayas  Rayas is the original Reynaud estate, purchased in 1880, and takes its name from the climat. In the northern reaches of Châteauneuf-du-Pape lie the 12 hectares of vines, surrounded by 11 hectares of forest. Forget the region’s stereotypical galets roulés or pudding stones, known for their ability to hold heat, Rayas sits on red, iron-rich, sandy soils, over richer clay. The soils are poor and the bush vines planted at low density, with a mere 2,500 vines per hectare – yielding just 10 to 20hl/ha. Significant replanting took place in the 1980s, meaning the vines now average 40 years in age, although there are still some survivors from the 1940s.  The site’s northern exposition combines with the influence of the wooded areas, offering shade and humidity, making for an extended growing season and preserving freshness in the wines. The Reynauds are among the last to harvest, often only picking in October/November, as much as two months after their neighbours. The resulting wines, however, do not speak of intense ripeness – but are all about elegance and finesse.  While Châteauneuf permits 13 red varieties, at Rayas you’ll find only Grenache Noir, with two hectares dedicated to white grapes – Grenache Blanc and Clairette. The Grenache vineyards can be divided into three section: Le Levant, Le Coeur and Le Couchant, each taking its name from its exposure to the sun – respectively as it rises, at its peak and as it sets. Writing for The World of Fine Wine, William Kelley describes the three components of the vineyard thus: “Le Levant is the most floral and ethereal, contributing the wine’s spine; Le Coeur is the most complete, contributing Rayas’s skeleton; and Le Couchant, with its richer, more compote-like fruit tones, brings the fat.”  The fruit is all hand-picked. The Grenache is kept on its stems, the whole bunches crushed before a gentle maceration for maximum two weeks (one pumpover a day) and indigenous-yeast fermentation. The wine is pressed off and aged in old foudre for a little under two years.  The delicacy and finesse of the resulting wine is reminiscent of top Burgundy. Pale in colour, Rayas is deeply aromatic, with haunting floral notes and an ethereal, silken texture that balances the wine’s earthy, savoury intensity. Between 1,200 and 1,500 cases of the flagship Châteauneuf-du-Pape are produced each year. The wines age beautifully and Emmanuel himself recommended waiting 20-25 years before opening a bottle of Rayas to fully experience its evolution.  The white grapes are planted across three parcels in Le Levant, comprising two hectares. The Grenache Blanc was planted in the 1940s, ’50s and ’95, with the Clairette planted in 1986. Fermented in old (80 to 100 years old) foudre, purchased second-hand by Louis Reynaud (Emmanuel’s grandfather), Rayas Blanc is a 50:50 blend of Grenache Blanc and Clairette, aged in old oak for around 11 months. The wine is made in extremely limited volumes, with only 400 or so cases produced each vintage. Rich yet poised, this rare white is immensely fragrant with notes of almond and white flowers, intensely mineral and textured, and can age for at least a decade.  Pignan is sometimes considered a “second wine” at Rayas, but it in fact comes from it own, specific site on the estate, a single two-hectare block surrounded by pine trees on the northern edge of the property with less sandy soils. Also pure Grenache, made in exactly the same way at Rayas, it offers a more immediate and approachable expression of the Rayas style, yet similar perfume, purity and structure – and is still capable of extended ageing. It can, on occasion – and especially in cooler vintages, rival its older sibling, Rayas. Around 650 cases are produced each year.  The Rayas wines are all only released when entering their drinking window, with the reds often only emerging from the estate over a decade after the harvest.  Ch. de Fonsalette  The “latest” addition to the Reynaud galaxy, Ch. de Fonsalette was purchased by Louis Reynaud in 1945. The property is large, covering 120 hectares in total, but with 12 hectares of vines in amongst woodland, farmland and olive groves, north of Orange in Lagarde-Paréol. Today it sits largely within the Côtes du Rhône Villages Massif d’Uchaux appellation (established in 2005), however the wines are all labelled just as Côtes du Rhône. Further north, the microclimate is cooler than at Rayas, and stylistically the wines are more restrained than those of Ch. des Tours, for example, but not as ethereal as those of Rayas.  The soils here are very different to those at Rayas with gravel, sand and red pudding stones. The vineyards are planted to Grenache, Cinsault and Syrah for red grapes, and Grenache Blanc, Clairette and Marsanne for whites. The vines are generally old, with the oldest planted in 1929.  The philosophy in the vineyard and winery is exactly the same as at Rayas – and, as the property doesn’t have a winery of its own, the wines are even made at Rayas. The reds are whole-bunch fermented, with a maximum two-week maceration and one pump-over a day. The wines are aged in a combination of enamel-lined tanks and large, old oak, bottled around a year or so later.   There are three wines in the range at Ch. de Fonsalette. The Côtes du Rhône Rouge is a blend of 50% Grenache, 35% Cinsault and 15% Syrah, the notably high percentage of Cinsault giving the wine particular lift and aromatic finesse – a wine that whispers and draws you in. There is a second red, a Côtes du Rhône Syrah which is 100% Syrah – a structured, dark-fruited wine that offers restrained power and quiet depth. Under Louis Reynaud, this was sold off in bulk, only first bottled under Jacques Reynaud (from 1978) and sold locally, largely to restaurants, before being offered more widely under Emmanuel. The Côtes du Rhône Blanc is a blend of 80% Grenache Blanc, 10% Clairette and 10% Marsanne, producing a textural and complex white with notes of stone fruit and herbs, and a saline undertow.  La Pialade  This wine is a slight anomaly in the Reynaud line-up. Only made in certain vintages, La Pialade Côtes du Rhône is vinified and aged at Rayas, made with declassified parcels from either Rayas or Ch. de Fonsalette. The blend is typically 85% Grenache, 15% Cinsault and 5% Syrah. Produced in tiny volumes, and even rarer given it isn’t made every year, it is often described as an “everyday Rayas” – more open in style, but can match Rayas for its subtlety and delicacy, even if it does not have the same depth.  Ch. des Tours   Purchased by Louis Reynaud in the late 1930s, Ch. des Tours was Emmanuel Reynaud’s home estate – having taken over running the property from his father Bertrand in 1989. As it was entrusted to Bertrand from the beginning, and never managed by Jacques Reynaud, the estate has always stood apart from Ch. Rayas and Ch. de Fonsalette – however all three have fallen under Emmanuel since 1997. Benoît – Emmanuel’s son, who studied oenology in Switzerland – has recently taken the lead at Ch. des Tours, having worked closely alongside his father.  The property gets its name from the towers or tours that frame the château building. Located in Vacqueyras, not far from Orange and northeast of Châteauneuf, it covers 40 hectares, with grains and olives as well as grapes. As it was long run separately, the property has its own winery.  Although the Reynaud philosophy runs through all three estates, the wines at Ch. des Tours are stylistically distinctive, offering more structure, muscle and intensity versus the more subtle, high-toned, perfumed style of Rayas and Fonsalette. The winemaking is largely similar to at Rayas and Fonsalette, with fermentation is concrete and maturation in old oak. Although the red grapes are mostly whole-bunch fermented, this is the only property where small portions are destemmed. The range is more complex at Ch. des Tours with a selection of wines bottled under Ch. des Tours, some under Domaine des Tours and a rosé made under the Parisy label.  There are five wines under the Ch. des Tours label:  Vacqueyras: A blend of 80% Grenache and 20% Syrah, this is a structured and powerful wine made exclusively from the oldest vines on the estate.  Côtes du Rhône Rouge: A blend of 65% Grenache, 20% Syrah and 15% Cinsault, this is a supple, juicy red packed with fruit and spice.   Côtes du Rhône Rouge Grande Réserve: Only made in specific vintages, this is effectively the Vacqueyras declassified when there isn’t sufficient colour – made in 2002, 2014 and 2015.  Côtes du Rhône Blanc: Made in very limited volumes, this white is 100% Grenache Blanc – a floral, textural wine that is worth seeking out.  Côtes du Rhône Blanc Grande Réserve: Only made in certain vintages, this is not a declassified bottling (like its red sibling), but a special bottling of the property’s best Clairette and Grenache Blanc. The 50% Grenache Blanc, 50% Clairette wine was produced in 2003, 2014 and 2015.  The Domaine des Tours label is all sourced from Ch. des Tours however is a slightly separate project, generally offering more accessible wines, almost all labelled as IGP or Vin de Pays. There are four wines under the label:  Vin de Pays de Vaucluse Rouge: This is a deeply expressive field blend of Grenache, Counoise, Syrah, Cinsault, Merlot and a host of other varieties.  Vin de Pays de Vaucluse Merlot: This 100% Merlot comes from the richest, clay soils on the property, producing amore opulent and exuberant wine.  Vin de Pays de Vaucluse Merlot-Syrah: A blend of Merlot and Syrah, which shifts according to the vintage, is a concentrated wine that combines the generosity of Merlot with the spice of Syrah.  Vin de Pays de Vaucluse Clairette: This 100% Clairette is pure and fresh, driven by minerality.  Under its own label is Les Tours Grenache Blanc – a rich, ripe and generous 100% Grenache Blanc full of stone fruit, bottled under the Vaucluse appellation. The last wine from Ch. des Tours is the Parisy rosé, a dry, delicate Grenache/Cinsault Vin de Table designed for everyday drinking. The labels themselves don’t detail the vintage, with this information only visible on the cardboard case.  Which Reynaud wines are made where? Ch. Rayas, Pignan, Ch. de Fonsalette and Pialade are all made at Rayas Ch. des Tours, Domaine des Tours, Les Tours Grenache Blanc and Parisy are all made at Ch. des Tours  Explore all current listings of the Reynaud wines or read more Editorial 

Few wines have the cult status of Rayas – a wine that stands alone in Châteauneuf-du-Pape. Here, we offer an essential guide to the wines crafted by the Reynaud family in the Rhône – Rayas, of course, but also those of Ch. de Fonsalette and Ch. des Tours 

Everything you need to know about the wines made by Emmanuel Reynaud – Rayas, Pignan, Chateau de Fonsalette, Chateau and Domaine des Tours, and Parisy  

Guide to Rayas, Fonsalette and Des Tours – the Reynaud wines

Everything you need to know about Rayas

The Thienponts reign over Bordeaux’s Right Bank. At Vieux Château Certan, Alexandre Thienpont – almost always dressed in his Barbour – rules, producing Pomerol of immaculate pedigree, as his family has for over a century now. Nearby, cousin Jacques Thienpont holds court at Le Pin, Pomerol’s original cult address. Nicolas Thienpont is another cousin whose domain stretches out from Saint-Emilion – from Pavie Macquin and Larcis Ducasse across to several estates in the Côte des Francs. And the dynasty continues to grow, as each thread of this complex family finds a new corner of the region to master.  The Flemish family has a long history in the world of wine, having traded French wine (especially Bordeaux) since 1842. Georges Thienpont – grandfather of Jacques, Alexandre and Nicolas) was the first to move into production, buying Ch. Troplong Mondot in 1921, then Vieux Château Certan in 1924. It wasn’t long before the Great Depression hit, however, and Georges Thienpont was forced to sell Troplong Mondot in 1934. Reportedly the only reason he kept Vieux Château Certan was that no one wanted to buy it – with vines holding little allure at the time. It was the château itself at Troplong Mondot, positioned at the highest point in the region and with a view across the village of Saint-Emilion, that allowed him to sell the Saint-Emilion estate. Georges continued to make wine through the Second World War and the devastating frost of 1956. Despite a challenging start, “VCC” (as it is affectionately known by wine-lovers) has become one of Bordeaux’s leading names.  It was Jacques Thienpont, however, who thrust the family firmly into the limelight. It was in 1979 that Jacques, then still a Belgian wine merchant, purchased a 1.6-hectare vineyard in Pomerol. The site had produced generic Pomerol, but Jacques started making tiny volumes of opulently styled wine, naming it after the lone pine tree (“le pin”) that stood on the property. The 1982 vintage was pivotal, receiving significant critical acclaim – especially from Robert Parker – and soon Le Pin became one of the world’s most desirable wines.  Just over 30 years after that first vineyard purchase, it seemed like fate when Jacques went to see a plot of land in Saint-Emilion right next to Troplong Mondot. Previously known as Ch. Haut-Plantey, the potential of the site was clear to Jacques and the symmetry of the Thienponts returning to where their family’s winemaking legacy began seemed fitting. He bought the property in 2010 and put Cyrille Thienpont (his cousin once removed) in charge of its daily running. In keeping with the arboreal theme, he named the Saint-Emilion venture L’If (the yew tree).  The first project the team undertook was a detailed soil map to get to grips with the site. The winery is in Saint-Laurent-des-Combes, just to the east of Troplong Mondot, with five hectares of vineyard around it and another two hectares of west-facing vines next to Saint-Hippolyte. The lower parcels are more eroded and sandier, but much of the vineyard sits on pure limestone and clay. They set about restructuring the vineyard – getting rid of the 5% Cabernet Sauvignon and increasing the portion of Cabernet Franc, with around 25% across the property today (any new plantings were with a massal selection from Pavie Macquin).  In 2013, Jacques bought another hectare or so of vines in Saint-Etienne-de-Lisse, right next to Ch. Puy-Blanquet. Despite the quality of the soils, Jacques was hesitant about buying such a “distant” plot, a whopping three kilometres as the crow flies – or a circa 10-minute drive. They pulled the vines out and replanted this additional parcel, harvesting its first fruit in 2018. Despite its youth, the fruit from the plot has made it into the final blend for every vintage of L’If since 2020 (“Worth the trip,” jokes Cyrille). Even with the significant replanting and this new plot, the average age of vines across the estate is around 40 – with the oldest over 60 years in age.  Work on a new winery finished just in time for the 2023 harvest, allowing greater precision and flexibility – with more space to work (and 16 concrete tanks for their eight hectares of vines). You might expect a flashy building, perhaps designed by a famous architect – but that’s not the Thienpont way. Understatement is everything for this family – and the winery is an almost exact replica of what stood there before, simply with more space inside, designed for simple functionality. In one corner stands an otherwise anonymous stainless-steel tank – the first one that Jacques bought for Le Pin back in 1979.  It was perhaps inevitable that L’If would sit in Le Pin’s shadow. But now, 15 years after Jacques Thienpont bought the estate, with a new winery and the significant work in the vineyards completed, L’If is building its own reputation.  Although the same team is largely involved in both estates, L’If is a totally different site and wine. The cool soils have better water-holding capacity, and budburst is around 10 days later than at Le Pin with its warm free-draining gravels – a gap that often widens as the growing season progresses, meaning harvest is significantly later here. Diana Berrouet Garcia – who acts as Managing Director for Domaines Jacques Thienpont, including both Le Pin and L’If – notes how at L’If the terroir seems to speak louder than the vintage and can better adapt to more challenging conditions, while the vines can struggle – especially in hot, dry years – at Le Pin. Where Le Pin is round, supple and exotic, L’If is linear, taut and mineral; one sensual and spherical, the other just on the right side of severe, with a crystalline quality. Even in the last few years, it’s amazing how the wine is evolving – nipping at Le Pin’s toes in terms of quality. Re-tasting the 2019, it’s amazingly approachable with a perfumed nose and juicy, pure fruit that complements the wine’s natural tension.   It's still comparatively early days for L’If –  and the team has invested significantly, focusing on shaping the vineyard and ensuring they have the tools in the winery to translate the work in the vines. For now, over half the vineyard is being used for the second wine, Les Collines d’If – something that will change in time, as they continue to replant parcels. As it happens, yews grow incredibly slowly – but are also some of the longest-living trees (Perthshire in Scotland is home to the Fortingall yew, thought to be 2,000-3,000 years old and one of the oldest trees in Europe). The Theinpont family is just settling in at L’If, but as they lay down roots, the potential is clear.   The Thienpont family: who does what?  Jacques Thienpont: Owns Le Pin, L’If and L’Hêtre (the latter with his sister Anne de Raeymaeker), but is also a co-owner of Vieux Château Certan. He oversees the family’s original Belgian wine merchant business, the Belgian Royal Warrant-holding Thienpont Wine, which is managed by his wife and award-winning wine writer Fiona Morrison MW.  Alexandre Thienpont: Co-owns and manages Vieux Château Certan with his son, Guillaume, as well as co-owning Le Pin with Jacques. Alexandre and Guillaume also farm the vines at Le Pin, L’If and L’Hêtre, as well as Vieux Château Certan.  Guillaume Thienpont: Manages Vieux Château Certan with his father, Alexandre, as well as making L’Etoile and Les Fillottes with his second cousin, François Thienpont. He also now manages Ch. Guillot-Clauzel, which is not owned by the family.  François Thienpont: Manages the family’s négociant business, Wings, as well as making L’Etoile and Les Fillottes with Guillaume Thienpont and is a co-owner of both Vieux Château Certan and Ch. Puygueraud.  Nicolas Thienpont: Owns and/or manages a group of estates with his son Cyrille: Pavie Macquin, Larcis Ducasse, La Prade, Laclaverie, Charmes Godard and Puygueraud.  Cyrille Thienpont: Owns and manages the Nicolas Thienpont group of properties with his father, as well as managing and making the wine at L’If.  There are many more members of the Thienpont family involved in wine, but these are the most prominent at the time of writing.   Explore all current listings of L’If or read more about Bordeaux 

Le Pin is one of the world’s most famous wines – but it’s just one of the Thienpont family projects. We dissect the dynasty and explore the evolution of L’If, the Saint-Emilion estate that is emerging as one of the region’s most exciting names

Jacques Thienpont created cult Pomerol wine estate Le Pin in 1979, but now he’s got a new project in Saint-Emilion, Bordeaux: L’If 

Exploring L’If: Le Pin’s Saint-Emilion sibling 

William Kelley + Yohan Castaing – Wine Advocate  Once again, the Wine Advocate’s Bordeaux en primeur coverage is shared by William Kelley and Yohan Castaing, with both providing scores, but Kelley writing the publication’s report. It’s telling that the highest potential score given for any of the 2024s is 94-96, with over half of the wines sitting below 90: in Kelley’s words, the year – which “tested growers’ limits” – “has produced few compelling wines”. Although there are some “notable successes”, the duo he feels that this is “clearly Bordeaux’s weakest vintage of the last decade”, with many wines that are “dilute, herbaceous and tart”.  The year is not homogenous, and Kelley attributes this simply to ripeness levels. He argues that those producers who “dared to wait” to harvest were rewarded. He is clear, however, that no particular variety or sub-region fared particularly better in 2024, with the year only able to be judged at a producer level. The best 2024s are, for Kelley, “intensely flavored middleweights with good structure and energy, exhibiting integrated acidity and ripe tannin”. Although the worst have acidity that can be “shrill”, with “astringent tannins and overt pyrazine character”, some – largely from early-ripening sites harvested late – “possess a density and mid-palate amplitude that transcends the year”. The vintage is, however, “a throwback”, closer to those of the 1990s than anything more recent. Elevage should help flesh out some of the wines, but Kelley is cautious of the wines’ fragility – and anticipates it “will only amplify the gap between the best and the rest”.  Kelley’s highlights: Cheval Blanc, La Conseillante, Pontet-Canet, Les Carmes Haut-Brion  Explore Kelley’s full report, notes and scores on the Wine Advocate (subscribers only)    Jane Anson – Inside Bordeaux  For Anson, 2024 exceeded her expectations: although there are, she acknowledges, "many disappointing bottles", the vintage is better than 2013 and – in the best cases – than 2021. She feels there are “more overall successes on the Right Bank than Left, simply because underripe Cabernet is very difficult to mask”, and generally speaking second wines don’t come recommended this year, with a notable step in quality. In the best reds, the acidity lends “juice, muscles and salinity”, with the Médoc offering linear, “floral, fragrant, nuanced” Claret. She highlights the quality of Saint-Julien in particular, and notes that there are “many excellent wines” in Pauillac, while Saint-Estèphe is more varied.  The Right Bank produced her wine of the vintage – Eglise-Clinet – but she notes how Pomerol is varied, with some successful wines that are “fabulous, lifted, aromatic, great quality” and some that are less successful, generally with the best hailing from the inner plateau. In Saint-Emilion, she notes how the limestone’s natural austerity needed to be managed – but “there are many tasty, successful if slim wines” in the appellation.  She emphasises the quality of the whites in the vintage, both sweet and dry, with “greater consistency and many excellent wines”. The dry whites offer great aromatics, but don’t have the density of the best wines, hence her ceiling on scores. She describes the sweet wines as “less luscious than the 2022s and 2023s”, but with “many balanced, delicious wines that are full of pleasure”.   Anson’s highlights: Eglise-Clinet, La Mission Haut-Brion Blanc, Coutet, Pavillon Blanc, Les Champs Libres, Margaux, Léoville Poyferré, Brane-Cantenac, Ausone, Laroque, Couvent des Jacobins, La Prade, Vieux Château Saint André, L’If, Pagodes de Cos Blanc, Rieussec, Suduiraut, Clos Albus, Les Hauts de Smith Blanc, Les Charmes-Godard  Explore Anson’s full report, notes and scores on Inside Bordeaux (subscribers only)    Antonio Galloni – Vinous  Galloni is the first of the two Vinous writers to publish their report on 2024 Bordeaux. Although he admits the wines are “all over the place in terms of quality and style”, he also feels that “the very best wines have a lot to offer”. After all, “Weather is no longer the critical element in determining the quality of wines and therefore a vintage.”  He emphasises how key élevage will be in the wines’ development, expecting “a very high level of variability in the finished wines” – feeling, as per the title of his report, that many of the wines sit on a “razor’s edge”. Galloni describes the 2024s as aromatic, leaning towards red fruit, with the best “exud[ing] balance” – although some can be “excessively light”, making for a “frustratingly erratic vintage”. It is, however, “far from the total disaster” suggested. For him, it’s a year where the Left Bank and Cabernet thrived, highlighting the wines of Saint-Estèphe and Pauillac, and finding those of Pomerol and Pessac-Léognan the most variable.   He emphases the quality of the dry whites in 2024, which are “some of the finest” in the vintage and can be “truly exceptional”, while also offering relative value. As for the sweets, they are – for him – very good, but not outstanding, not having the “thrill factor of the very best years”.  Galloni’s highlights: Beychevelle, Clos Puy Arnaud, Cos d’Estournel, Jean Faure, Larcis-Ducasse, Lascombes, La Conseillante, Rauzan-Ségla  Explore Antonio Galloni’s full report, notes and scores on Vinous (subscribers only)    Neal Martin – Vinous    Following on from Galloni’s report (above), Neal Martin covers the growing season defined by its “biblical” amount of rain. He feels 2024 is “a good vintage with limitations”, noting that the wines are inconsistent and the “maleficent season… widens the divide between the haves and have-nots”. He emphasises that those who triumphed had not the best terroir, but “the deepest pockets and those who made the right decisions at the right times” – and even then, it is “a growing season that is impossible to transcend”.  He, like others, notes how different the vintage would have been just a couple of decades ago, noting that it is “unequivocally far superior” to the likes of 1984, 1992 or 2013. Although it is not consistent, he admits there are wines that “touch the sky”, and the best are “pretty” – offering “delineated and focused” aromatics, balanced wines in which a “spine of acidity lends poise”, with “ample freshness and sapidity”. They are, he writes, “ideal restaurant wines that will provide easy-drinking pleasure whilst you wait for the 2019 or 2022s to mature”.  Martin highlights the quality of the dry whites – with cool conditions producing “riveting, tensile Sauvignon Blanc/Sémillon-based wines that often trump their red counterparts”. As for Sauternes, he reports that they are very good, but not classically opulent, instead “full of freshness and purity”.  Neal Martin’s highlights: Vieux Château Certan, Lafleur, Eglise-Clinet, Lafite Rothschild, Margaux, Montrose, La Mission Haut-Brion Blanc, Domaine de Chevalier Blanc, Malartic-Lagravière Blanc, Le Blanc de Lafite, Les Champs Libres, Doisy-Daëne, Coutet, Guiraud, Suduiraut  Explore Neal Martin’s full report, notes and scores on Vinous (subscribers only)    James Suckling  For James Suckling, tasting 2024 was a nostalgic experience – reminding him of “modern renditions of years such as 1985 or 1995”. Although he feels it is among the most heterogenous vintages he’s tasted, he describes the top 2024s as having “fine tannins and a crunchy, bright character”, “linear and fresh” with “vivid acidity”, noting that they’ll be approachable early. The best, he believes, come from early-ripening sites with the large teams necessary to tackle the year. He feels the dry whites, meanwhile, are very good to excellent – with Haut-Brion Blanc and Pavillon Blanc both among his top-scoring wines.  Suckling’s highlights: Haut-Brion Blanc, Evangile, Lafleur, Latour, Pavillon Blanc, Angélus, Ausone, Cos d’Estournel, Haut-Brion, Eglise-Clinet, La Mission Haut-Brion, Léoville Las Cases, Les Carmes Haut-Brion, Margaux, Mouton Rothschild, Pétrus, Smith-Haut-Lafitte Blanc, Vieux Château Certan  Explore James Suckling’s full report, notes and scores on his website (subscribers only)    Lisa Perrotti-Brown MW – The Wine Independent  The headline for Lisa Perrotti-Brown MW is that the best reds in 2024 are “lighter-bodied, soft-textured, refreshing and perfumed”, while there are “many spectacular dry white wines and small quantities of excellent wines from Sauternes”. She notes how the wines generally have ripe tannins, but flavour ripeness was more challenging – and has resulted in “a lot of good, delicious, drinkable, if not awe-inspiring, reds” although “many don’t have the flavor layers or intensity of a truly great wine”.  One thing shines through for her: “Quality levels are all over the show.” She, like us, feels the Right Bank is more consistent and notes that “many elegant, bright, refreshing, soft-textured and perfumed wines” come from Saint-Emilion and Pomerol. On the Left Bank, she finds that quality drops away as you move away from the gravel terraces and the finest terroirs, although many Classed Growths produced wines “worthy of their status” if in a lighter style than recent years.  The dry whites are, for her, “the silver lining” of the vintage – noting their consistency and quality. She finds that many have “an effortless sense of harmony”, the aromatics and acidity preserved by the cooler conditions. She highlights a number of dry whites to look out for – noted below. Quality in Sauternes and Barsac is “excellent”, she writes, feeling the acid backbone injects “vivacity” into the wines, bringing greater balance versus warmer vintages. The best have “great flavor intensity, plenty of botrytis-instilled complexity, and racy backbones” – and are wines well worth seeking out.  Lisa Perrotti-Brown MW’s highlights: Figeac, Haut-Brion Blanc, Smith Haut Lafitte Blanc, La Mission Haut-Brion Blanc, Pavillon Blanc, Eglise-Clinet, Montrose, Trotte Vieille, Pape Clément Blanc, Domaine de Chevalier Blanc, Valandraud Blanc, D’Aiguilhe Blanc, Larrivet Haut-Brion Blanc, Suduiraut Pur Sémillon, Les Champs Libres, Cos d’Estournel Blanc, Lespault-Martillac Blanc  Explore Lisa Perrotti-Brown MW’s full report on The Wine Independent (subscribers only)    Georgie Hindle – Decanter  Decanter’s coverage is being gradually released, and so far includes a report on the growing season, as well as an early look at the styles the year produced. Georgie Hindle says it is closest in style to 2021, looking at recent vintages, however highlights the drier, warmer summer which differentiates it. She emphasises that the year is not uniform, and the wines are generally shaped by a “taut, mineral freshness” rather than fruit depth or opulence. She says the best “offer flashes of aromatic precision, elegant and refreshing clarity with structure and length” – they “achieve balance between fruit, acidity and tannins”. Many are weak or thin and – as we and others have emphasised – you cannot generalise this year – and it shouldn’t be one you write-off, she urges.   She doesn’t feel that the dry whites fared better than the reds, with results similarly mixed – but some successful wines that are aromatic and appealing. As for the region’s sweet wines, they offer “an easy drinkability” but don’t all have “the density and consistency of stronger vintages”.    Explore Georgie Hindle’s coverage on Decanter (subscribers only)     Colin Hay – The Drinks Business This is the first year we’re including The Drinks Business. A trade publication, it has been expanding its coverage of Bordeaux and relatively recently started scoring wines, all tackled by Colin Hay. Despite the challenging growing season, he argues that “those with both the resources – human and financial – and above all the acumen to respond to its trials and tribulations have triumphed”. Although at the lower end of the quality tree, he finds the wines disappointing and the vintage far from even, he writes that “at the top of the pyramid” there are “wines that transcend the challenges of the vintage” – “fully ripe, elegant, refined, highly aromatic, with soft, delicate, finely grained tannins and a succulence, clarity and brilliance that is rare indeed”. He finds them “remarkable” – even without the context of the year. Although they don’t reach the heights of 2019, 2020 or 2022, he feels the wines can be favourably compared to other recent vintages – indeed, he feels the best sit above wines from 2001, 2002, 2003, 2004, 2006. 2007, 2008, 2011, 2012, 2013, 2014, 2017 and 2018. He writes that although the wines are “likely to be highly accessible in their youth”, they “still have quite significant ageing potential”. He is another to feel the vintage is slightly stronger on the Right Bank, and rave about the whites (“unique and spectacular”, “an undoubted highlight of the vintage” that he puts on a par with 2017 and 2021) and the sweets (although he confesses these are less consistent). Although there are exceptions, Pauillac is “the least flattered by the vintage”, and can be austere. He found that estates in Saint-Estèphe seemed to embrace the vintage, finding several highlights – including Montrose, “a wine of staggering depth and originality, yet also of an ethereal and aerial beauty and profound aromatic complexity”. In Saint-Julien, he finds “a reassuring sweetness to the fruit and a nutty creaminess”, coping with the vintage better, as Margaux also did, offering much “charm and typicity”. He finds the reds of Pessac-Léognan and Graves especially heterogenous, although he feels people will remember the vintage for its whites.  On the Right Bank, Hay finds that the best of Pomerol “indicate nothing of the difficulties of the growing season”, with elevated proportions of Cabernet providing “additional aromatic lift and florality”. In Saint-Emilion, he also discovers many vintage-transcending wines, “far more homogenous” than expected, especially versus the Left Bank, and many of them sit within its classification system – suggesting it is “an impressive guarantor of quality to the consumer”.  Colin Hay’s highlights: Mouton Rothschild, Montrose, Cos d’Estournel, Gruaud Larose, Palmer, Lafleur, Le Pin, Petrus, Eglise-Clinet, Trotanoy, Bélair-Monange, Rocheyron, Cheval Blanc, Figeac, Angélus, Beauséjour, Larcis-Ducasse, Pavie, Les Carmes Haut-Brion, La Mission Haut-Brion Blanc, Smith Haut Lafitte Blanc, L’Extravagant de Doisy-Daëne, Lafaurie-Peyraguey, Suduiraut Explore Colin Hay’s full report, notes and scores on The Drinks Business Jeb Dunnuck Although 2024 was a difficult vintage, it produced “charming, mid-weight, forward, moderately concentrated wines”, writes Dunnuck. He compares quality to 2021 but with more “openness and suppleness”, feeling it is neither a Left or Right Bank year, but one that needs to be analysed by estate. He does feel, however, that Pessac is “a shining gem in the vintage”. The wines are about “approachability over density”, and the Merlot-driven wines of the Right Bank show their terroir well, while Pomerol is darker in style. On the Left Bank, similarly, they are not blockbusters, but – he says – they “will certainly appeal to those who pine for the yesteryears of the 1980s and 1990s”, and will “unquestionably offer ample drinking and longevity”. He suggests they may follow a similar trajectory to the 2001s, wines “drinking beautifully today” – and some “have a balance and harmony that might surprise”.  As for the whites, although there are “some brilliant whites”, it is not universal – a good rather than great vintage. And that is trye for the vintage across the board, in his mind, selective buying is advised, but there are some good wines worthy of attention. Jeb Dunnuck’s highlights: Figeac, Haut-Brion, La Conseillante, Lafaurie Peyraguey Coeur de Terroir, Pavillon Blanc, Mouton Rothschild, Pape Clément, Suduiraut, Suduiraut Pur Semillon, Valandraud Blanc    Explore Bordeaux 2024 

As the floodgates open for Bordeaux 2024 releases, the world’s leading wine critics are offering their thoughts on the vintage. Here you’ll find a round-up of what the Wine Advocate, Vinous and more are saying about the vintage so far – and the wines they rated most highly 

Your essential crib-sheet to what the world’s leading wine critics are saying about Bordeaux 2024 en primeur–including Wine Advocate, Vinous,Decanter and more

Bordeaux 2024 en primeur – what the critics are saying 

Bordeaux 2024: what the critics are saying 

We normally taste Ch. Berliquet at Canon during en primeur, and with a tightly packed schedule there’s never enough time to visit both properties. This year, however, an extended trip allowed us to visit once most of the trade had left the region. On the sunny Monday after the week of en primeur, we arrived at Canon as normal – but, instead of disappearing into a tasting room, hopped onto some of the property’s iconic bikes (which are genuinely used by staff to travel between the two estates), and pedalled across the vineyards to Berliquet – a property that the Chanel team has quietly been transforming.  Ch. Berliquet is one of the oldest estates in Saint-Emilion, with roots dating back to the 1760s. The first known owner was Jean de Sèze, a contemporary of Jacques Kanon (the founder of Ch. Canon). This single plot of vines on the slopes of Saint-Emilion’s limestone plateau has remained unchanged for over 150 years. Southwest of the town, nestled between Ch. Bélair-Monange and Ch. Angélus, it offers much more than meets the eye. The wines were vinified by a local co-operative as recently as the late 1970s and the property only achieved Grand Cru Classé status in 1986. When Chanel acquired the property in July 2017, you would be forgiven for thinking that fruit from Berliquet would go into its more illustrious neighbour, Ch. Canon (which Chanel has owned since 1996); but that wasn’t what they had in mind.   “At the beginning, we took our time with Berliquet. To start with, we had to focus on ourselves,” Axelle Araud, the estate’s Wine Development Director, told me at a recent vertical tasting. The team credits the estate’s progression in part to a better understanding of their surroundings. Not long after their acquisition, the team carried out an extensive soil study which revealed that the estate’s slopes are home to all three of Saint-Emilion’s hallmark soils in equal measure: the vineyard’s plateau is made of limestone, the hillside a mix of limestone and deep clays, while the banks of the Dordogne river are predominantly sand and clay. The unique diversity of the soil helped to underline the estate’s identity.  “Ch. Berliquet is the expression of a specific landscape,” Araud says. One key element of this landscape is a Mediterranean belt that runs across the property (found at Bélair-Monange too), with Mediterranean species of plants naturally growing here – with cypress, fig, pine trees, lavender and laurel all at home. The team has looked to nurture this natural biodiversity, planting over 1,000 hedges, shrubs and trees since 2017, as well as installing nesting boxes for birds (to help as natural pest control). The property is certified organic as of the 2024 vintage.  Alongside this, Nicolas Audebert has embarked upon significant restructuring of the vineyards. At the beginning of Chanel’s tenure, the vineyard was planted with as much as 80% Merlot; but, in early 2018, following their soil analysis, the technical team realised the significant role that Cabernet Franc could play on the property’s clay-rich soils, on the slopes below the limestone plateau. Since then, the vineyard has gradually been restructured, with plots of Merlot replaced with Cabernet Franc. Today, 2.5 hectares of the vineyard have been replanted, taking the proportion of Cabernet Franc up to 40%. The goal in the long term is to bring the blend up to 50% Cabernet Franc.  In 2021, they also decided to plant some Malbec – 0.34-hectare plot of this grape that was – prior to phylloxera – widely planted in the region. Nicolas Audebert and his team believe that addition of malbec will add to the diversity of the fruit, the results of this change will be evident from the 2024 vintage, with its first inclusion in the blend.  While much of the work has been in the vineyard, part of Berliquet’s recent progress can be linked to the winery. Although Berliquet benefits from having the same technical team as that of Canon and Croix Canon, one of the thinks that marks Berliquet out from its stablemates is their use of amphorae. The estate started with just two amphorae in 2019, and today have 12 – deemed a key part of the wine’s character, with 10% of the blend matured in these clay vessels instead of oak. Araud pointed out that the amphora have helped to preserve the brightness of the fruit – carrying through their work in the vineyard to the final wine.  The 2023 vintage also saw the inauguration of what Araud calls “the playground” – their new vat room, complete with 22 stainless steel tanks. “Now that we have all the building blocks in place in the vineyard, we can pay more attention to each and every plot, resulting in greater precision and refinement in the final blend,” she explains.  The 2024 vintage is the eighth under team Chanel and, over that time, the team has continuously questioned their practices, making small adjustments in the vineyard and winery – making gradual but constant progression. And that progression is evident in the wine today, which has shaken off any rusticity it might once have displayed. As Jean-Basile Roland, Commercial Director for Chanel’s three estates, described to us back in April, they’ve been sharpening the wine’s silhouette – a wine that he describes as “telluric” versus Canon’s “ethereal” style. However you describe it, the wine is clearly better than ever before and well worth watching, with more improvements undoubtedly in the pipeline. Browse all current Berliquet listings or read more Editorial

In 2017, Chanel added Ch. Berliquet to their suite of prestigious Bordeaux properties, joining nearby Ch. Canon and Margaux’s Ch. Rauzan-Ségla. Our Bordeaux Buyer Hector Howes reports on the evolution of the estate under its new expert owners – and why it’s one to watch

How the Chanel team is transforming Saint-Emilion estate Berliquet – acquired by the owners of Canon and Rauzan-Segla in 2017 – and why it’s one to watch

Harnessing Ch. Berliquet’s potential

Berliquet: harnessing the property’s potential

Claude Giraud (owner of Champagne Henri Giraud) – 1999 La Romanée-Conti, Grand Cru, Domaine de la Romanée-Conti “We always spend Christmas with the family and everyone brings a bottle they want to share. This bottle is first and foremost a Grand Cru of Pinot Noir, and we love the Grands Crus of Pinot Noir in both Champagne and Burgundy. Following a bottle of our own Grand Cru – Hommage au Pinot Noir and an MV10 Champagne, of which both would have benefited from a few years of aging, I will serve the Romanée-Conti. I like to drink these wines quite early in the meal, their fragrance, their voluptuousness, and their precision make me happy to continue the meal. This bottle is also a memory of the person who gave it to me on one of my trips to Japan. I will call my friend on this occasion. Because wine is that – beyond a taste, it's a story, a bond of friendship, a touch of humanity that we so badly need for these end of year celebrations.” Sébastien le Golvet (winemaker at Champagne Henri Giraud) – 2011 Único, Vega Sicilia, Ribera del Duero “Christmas with the family at the Girauds is a string of bottles, each more extraordinary than the last. Thanks to my wife Anne (one of Claude Giraud's daughters) I had the chance to discover some great wines. These wines inspire me every day when I am in the vineyards or in the cellar. They make me want to surpass myself and always go further in precision and excellence. Vega Sicilia is one of those first great Spanish wines which made a deep impression on me. I like them old, after 20 years, 30 or more because this is really where Vega Sicilia fully expresses itself. And then I recently drank in Mexico a bottle of 2011 Vega Sicilia and I was amazed. It is so young and already so beautiful! I told myself that I couldn't keep this secret to myself, I wanted to share it with my family. So, coming back from this trip, I immediately put some in my cellar. And the first bottle will be for Christmas.” Tod Mostero (Dominus) – 2005 Riesling Auslese, Graacher Himmelreich, Joh. Jos. Prüm, Mosel “It is finally feeling cold enough here for the subtle fruit and mineral shades of a Joh. Jos. Prüm Graacher Himmelreich Auslese 2005, which may pair well with a grape and quail dish I love at Christmas time. I like to travel in my mind and tell stories with my family at the holidays. This bottle was offered to me by Michael Grimm (our distributor in Germany) and his family shortly after I returned to California in 2007. He and his family have become close over the years. I will also remember Bordeaux, my spiritual family in Libourne, and the gravelly earth and creamy tones of Pomerol soils with a 1982 La Fleur-Pétrus or the pillar of beauty, 2009 Trotanoy – bottles offered to me by Christian Moueix to celebrate the end of year. It is fun to pour a wine and talk to loved ones of the people and places in the bottle.” Gaia Gaja (Gaja) – 1961 Barbaresco, Gaja “This Christmas more than ever the family will gather in full, at my parents' house to celebrate Christmas together. I can’t wait. It will be a long day of celebration, cooking and enjoying each other’s company. Several wines will accompany us throughout the day and surely will be inspiring to the memories. In particular, I am excited to share a magnum of Barbaresco 1961 because this year we are celebrating the 60th anniversary of my father’s great career and this wine was his first step – the first vintage made by him when he was just 21!” Thomas Duroux (Ch. Palmer) – 2009 Malvasia delle Lipari Passito, Caravaglio, Sicily “In July 2011, I went for the first time to Salina, one of the seven Aeolian Islands. I had a little knowledge of the wines produced there but I did not know Antonino Caravaglio. We spent a lot of time together and I had a chance to taste several Malvasia from his estate. I took the hydro-foil ferry back to Sicily along with six bottles of his 2009 Malvasia delle Lipari. This sweet wine, made with dried berries from Malvasia grape variety develop extraordinary aromas with age, such as rosemary bush and dried apricot. This is really something that does not exist anywhere else. I plan to open the first bottle this Christmas and this wine will be my second daughter Gabrielle’s, born in 2009, first sip of wine!” Chris Riesbeck (Westland Distillery) – Garryana Edition 6 “For the holidays, I love to go with big Sherried malts during the colder months – our latest Garryana Edition 6 is just absolutely wonderful. It combines what I love in Sherry (dried fruits) with classic Garry Oak notes of ginger, clove, barbecue smoke. We used quite a bit of ex-Calvados and fruit brandy casks as well, so it’s this fantastic bouquet of candied fruit and smoke (not peat). Aside from that, I have a running obsession with large format (three-litre for the win!) during the holidays. It’s such a fun treat to share those sorts of things with loved ones. This year I’ve pulled a three-litre bottle of Marcel Lapierre Raisins Gaulois 2017 out of the cellar to celebrate.” Francesco Ripaccioli (Canalicchio di Sopra) – 2013 Chianti Classico Riserva, Vigna del Sorbo, Fontodi “One of the bottles that I will definitely open this Christmas will be Fontodi’s Chianti Classico Riserva Vigna del Sorbo 2013 in magnum. This bottle is so special for me for many reasons, for sure it is one of the greatest wines I ever tried, but behind this, there is a family (the Manetti family) and a man, Giovanni Manetti, who at the beginning of my journey in the world of wine was a great sponsor for me, granting me his friendship and his continuous support. Fontodi has been, and still is today the greatest example of how a family-run estate can stay local, while thinking global. I love the 2013 vintage in all of Tuscany and also Piedmont. The wines mature very slow and this is the sign for me of a great vintage. But we can now already start to enjoy something from it for sure.” Frédéric Weber (Bouchard Père & Fils) – 1999 Beaune-Grèves, Premier Cru, Le Vigne de l’Enfant Jésus, Bouchard Père & Fils “Christmas day is the perfect day to celebrate this wine, so it is an easy choice for me. This is a great wine, from an appellation that today is still too underrated. Historically the top wines from Beaune were the most expensive in Burgundy and can compete with some of the finest. I have chosen 1999 because this was in fact the first bottle I bought from the domaine when I joined Bouchard in 2002. It is a fantastic vintage for Burgundy and is drinking beautifully now. I am looking forward to sharing it with my family this Christmas.” Rebecca Jago (The Last Drop) – The Last Drop Très Vieux Pineau des Charentes “This Christmas, we’ll be opening a magnum of Pol Roger I was kindly given last year but further lockdown meant we just didn’t have the company to drink it all! We have a mix of family and friends for Christmas Day and we’ll open a bottle of Newton’s unfiltered Chardonnay (my husband’s favourite), and some Ch. Talbot 2000. And, with the Christmas pudding, I’ll be opening my bottle of our incredible 100-year-old Pineau des Charentes: I can’t wait to share it with our loved ones. As evening falls, a small glass of Tom’s Blend No 1 for a moment of quiet reflection and memories of my much-missed parents.” Martin Donatsch (Donatsch) – 2016 Grüner Veltliner Smaragd, Honivogl, Franz Hirtzberger, Wachau “My motto: It's better to drink a few great wines than to unwrap a lot of presents. Unfortunately, it will be a sad Christmas for us, as it will be the first without my mum. She sadly passed away in the summer after a hard fight with cancer. So, we will be drinking one of her favourite wines in her memory. She loved Grüner Veltliner from Austria, so there will certainly be a Honivogl from our friends Hirtzbergers in the Wachau, which my mother loved so much. For red wine we will have some of our favourites, a 2011 Romanée-Saint-Vivant from Romanée-Conti and a 1989 Haut-Brion. Noblet and Delmas were for us the best cellarmasters ever on this planet. They both inspire me again and again when I drink their wines. For the sweet end, it will be Yquem again... I drink Yquem maybe three or four times a year. But at Christmas, this world-class sweet wine is always a must! Which vintages we open, I decide spontaneously shortly before Christmas but I’m thinking it will most likely be 1999.” David Stewart MBE (The Balvenie) – Balvenie PortWood 21 Year Old "I would probably have a couple of glasses of white wine, generally a Chenin Blanc from South Africa. We've visited a number of vineyards near Cape Town in Stellenbosch. In the evening I would pour myself a couple of drams of Balvenie PortWood 21YO, my favourite, whilst watching Call the Midwife." Read more Editorial

After many of us were not able to see extended family and friends last year, this festive break will seem that much more special. We caught up with some of our favourite winemakers and distillers and asked them what top bottles they will be opening to celebrate this Christmas – 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

The 2022 vintage broke records in France for its hot, dry conditions – but the wines it produced are far from solar. Fresh from a week spent digging into the vintage with producers and tasting the wines, Sophie Thorpe reports on the remarkable year and the wines it produced

On the back of our deep-dive into Bordeaux’s 2022 vintage, tasting and talking, here’s everything you need to know about the year’s remarkable wines

Bordeaux 2022 vintage overview

Bordeaux 2022: vintage overview

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

Just over 25 years ago, French fashion house CHANEL entered into the world of fine wine, purchasing the largely underperforming Margaux Second Growth estate Château Rauzan-Ségla. Two years later they acquired the Saint-Emilion Premier Grand Cru Classé, Château Canon. They have since turned these properties into two of the most in-demand fine wines in Bordeaux today. In 2019 CHANEL embraced their latest endeavour, acquiring Domaine de l’Ile, a prestigious wine estate on the French riviera on the exclusive island of Porquerolles, the largest of the “golden” islands just off the Côte d'Azur. Sharing the same philosophy as their sister wineries, they have invested in a stellar winemaking team at the Domaine, enlisting the help of Pierre Etcheberry and celebrated winemaker Nicolas Audebert (of Châteaux Rauzan-Ségla and Canon). Nicolas Audebert is in fact a local to the region, born and raised in the nearby port city and naval base of Toulon. We caught up with him to discuss returning to his roots in Provence and to find out what makes this idyllic island so well-suited to fine wine production. “I was born in Toulon. My father was a naval officer, so we used to travel a lot, living in different countries, but we would always return to Provence. Porquerolles is a very special place to me as we would spend time sailing there with friends and family.  Probably my strongest memory of when we were kids is sailing with my family and spending nights “au mouillage” on the Notre Dame beach. My brother and I would wake up early in the morning with a mission:  buying some bread in the village. We would spend the whole morning walking on the back trails, discovering the island and its incredible nature, guided by the eucalyptus perfume to finally reach the Place d’Armes, where the bakery is. By the time we were back on the boat, it was lunchtime.  As a child, Porquerolles was the epitome of nature and freedom.   My travels and the great outdoors are part of my DNA, that’s why I decided to study Agronomy and then Oenology in Montpellier. Winemaking took me to Champagne, South America, Bordeaux... Today, coming back to Porquerolles is like coming back to my roots - and making wine there is the icing on the cake.”  The history of Domaine de l’Ile The island of Porquerolles is a place of idyllic beauty with a fascinating history. First inhabited in 1820, the island was largely destroyed by a devastating fire at the end of the 19th Century, before being auctioned off in 1910. The island was acquired in its entirety by François Joseph Fournier, who as Nicolas explains, “was a man of many lives”; the son of a poor Belgian boatman, he became fabulously rich thanks to his discovery of the largest seam of gold ever found in Mexico. Fournier was the sole bidder in the auction of the island, which was a wedding gift to his wife, Sylvia. They actually established vines on the island almost immediately, planting vineyards on different strategic plains of Porquerolles. Under their visionary and watchful eye, the island reclaimed its agricultural character. It sprung back to life; an oasis in the middle of the Mediterranean. The vines populated its gentle slopes and fuelled the chatter in the village. The vineyards were in fact some of the first in the region to be classified as Côtes de Provence, due to the quality of the wine produced. In 1957, the island was divided up between the four Fournier daughters; each one received a plain. Progressively, three of them sold their inheritance to the French government, but Lélia Le Ber (neé Fournier), fought to keep her land and replanted vines on the Brégançonnet plain.  She passed on the estate to her son, Sébastien Le Ber, who managed the family business before entrusting the site to CHANEL, opening a new chapter in the story of Domaine de l’Ile.  From the Classed Growths of Margaux and Saint-Emilion to Provence Asked why CHANEL decided to invest in a new winery, and in particular in Domaine de l’Ile, Nicolas explains that it was "love at first sight" with this island vineyard in the heart of Provence, its special terroir, the Le Ber’s philosophy of Porquerolles and their unique history. “As we took over Domaine de l’Ile in early 2019, Pierre Etcheberry joined the estate’s team as Vineyard Manager. Pierre has an Agricultural Engineering degree and spent three years at Château La Fleur in Bordeaux as Assistant Technical Director.  At Domaine de l’Ile he is now in charge of the winemaking, vine growing and day-to-day management. Pierre stays in touch closely with the teams in Bordeaux, and they visit regularly whenever their support is needed.”   In the vineyard The individual parcels of Domaine de l’Ile were delimited and planted in 1957. While Porquerolles shares similarities with Provençal rosé in terms of the soils and climate, it remains unique because of the insularity specificities, explains Nicolas. “Being an island, Porquerolles has a unique ecosystem: vines grow on orogenic schist bedrock and clay soils, vines are surrounded by wild and protected fragrant flora, under a warm Mediterranean climate and are exposed to fresh saline winds.  The unique environment of the vineyard has a real influence on Porquerolles wines. Surrounded by the sea, growing on an exceptional soil under seasonal high temperatures and exposed to salty winds, the Porquerolles vines produce wines of character with a fresh tension and saline notes. Pine trees, eucalyptus and wild flowers frame our parcels, this very rich naturally odorous environment finds its illustration in our wines, in delicate flavours.” “The blend of grapes in the Domaine de l’Ile rosé is made up of Grenache, Mouvèdre, Cinsault, Syrah and Tibouren.” For Nicolas, these traditional Mediterranean grape varieties express all the uniqueness and insularity of the Domaine de l’Ile wines. “On dry and stony soils, enduring the wind, gorged with sun, the Grenache brings generosity to the blend, a reminder of the sweetness of local life. The Mourvèdre likes to watch the sea. It affirms all its character here and adds its grains of spice. A window opens on the pine forest. The white flesh fruits of Cinsault combine with the freshness and crispness of Syrah. As for the Tibouren, authentic Provençal, it is at home here, deploying its nobility on these shale soils.”  Life on Porquerolles The idyllic picture postcards of the island don’t lie; Porquerolles is exceptionally beautiful. Such landscapes are due to its protection, conservation and very real isolation. During summer, thousands of visitors discover the good life of Porquerolles, exploring the local restaurants, community and the beautiful coastline by walking, biking or sailing. But once the high tourist season ends, nature takes back its rights. Spring is sweet but autumn and winter can be difficult. To live on Porquerolles is a real philosophy of life, a desire of being out of “the continent”, a place where time flows slowly.  Finally, we asked Nicolas’ thoughts on rosé wine more generally and where and when best to enjoy it. “Rosé is the traditional wine of Provence, a region that has nothing left to prove. It designates wines of incredible diversity that can be found on the most prestigious restaurant wine lists all around the world.  From the ones to be enjoyed between friends over a simple supper, to some brilliant and complex expressions of terroir paired with more elaborate menus. For me, when spring begins to bloom, and temperatures rise, opening a bottle of a rosé wine offers you a promise, a foretaste of the coming summer. And in autumn, or even in winter, it will put a smile on your face, as an opportunity to remember the joy and pleasure of the long-gone summertime. Ultimately rosé is the ideal summer wine to share at the end of warm days." Browse Editorial

We speak to winemaker Nicolas Audebert about Domaine de l'Ile, CHANEL's latest wine venture on the island of Porquerolles, just off the Côte d'Azur

Winemaker Nicolas Audebert on Domaine de l'Ile, CHANEL's latest wine venture on the island of Porquerolles, just off the Côte d'Azur

Domaine de l'Ile, CHANEL's latest wine venture

Nicolas Audebert returns to his roots with Domaine de l'Ile

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