We have unearthed an absolute gem in the guise of Rosso della Centa, a 100% Merlot wine grown on just one hectare of a distinct marl clay hillside in Friuli, Italy. The wine is the creation of one of Italy’s top winemakers Nicola Manferrari who first produced the wine in 1985 and has gone on to release it only in top vintages, producing just 1200 bottles per vintage. 

As we have managed to source a small parcel of Rosso della Centa 2010, we explore the history of this incredible and rare wine.  Friuli ranks highly among Italy’s finest regions for white wine production, producing some of the most vibrant, mineral, saline whites on the planet. The global reputation of the top wines of Friuli continues to grow, gaining fans throughout the world and firmly positioning it on the global fine wine map.   Whilst more famous for their white wines, top grower Nicola Manferrari has a very special one-hectare plot dedicated to red wine. On taking over the family vineyards in 1982, Nicola was not happy with the quality of wine coming from this Merlot site. So much so he took to studying French and French winemaking to learn the secrets of Bordeaux and then apply these techniques to his own wine, to get the best out of this unique site. He states that François Champagnol’s Elements de physiologie de la vigne was one of the most intellectually stimulating reads of his life. Nicola Manferrari is one of Friuli’s original trailblazers. Along with Mario Schiopetto, Josko Gravner and Silvio Jermann, Manferrari was just one of a handful of producers in the 1980s who had the vision and courage to follow his convictions.

He experimented with the 1982,’83 and '84 vintages before he was happy with the techniques he had adopted and, matched with the perfect weather, managed to produce something exceptional, releasing the inaugural Rosso della Centa in the 1985 vintage. Nicola was confident that he could create the first world-class red wine from the region and was not swayed by his neighbouring premium sites opting to plant Cabernet Sauvignon rather than Merlot. But for Nicola he believed the Merlot was perfect for the clay and collio marl soils in which Cabernet Sauvignon struggled.   The ’85 was a critical success, described by the critics as the "First Great Friuli Red". Other greats of the region include Enzo Pontoni of Miani fame and Christian Patat from Ronco del Gnemiz have followed in his footsteps making incredible Merlots from the Friuli region.
Nicola Manferrari continued to improve the wine buoyed by its critical acclaim, further reducing the yield, increasing the vine density (more than 7000 hectares per hectare), introducing shorter pruning techniques, using no fertiliser and complete grassing in the vineyards to improve the soil health. The wine is fermented in small 12 hl wooden vats and are matured in small oak barriques for four years. Only the finest vintages are released as Rosso della Centa. 
In the summer of last year Monica Larner (Wine Advocate) had the opportunity to taste some more recent vintages of Rosso della Centa. “Looking over my scores, I can't help but notice how consistent they are across vintages and varieties. Results like these are hard to achieve, but not at Borgo del Tiglio. She goes on to describe the ’06 as “musical and operatic in character… there is complete harmony and silkiness here in another gem from Borgo del Tiglio’s cellar”.

"Nicola Manferrari and his family have been working tirelessly since the 1982 vintage to become a benchmark for winemaking in Friuli Venezia Giulia." Monica Larner, Wine Advocate 

Larner did not have the opportunity to taste the mythical 2010 but we pulled a cork on it this week to find out how the wine has developed and we were blown away by the quality. This is a superb rendition retaining everything that is great about Italian wine – the acidity, freshness, dried floral notes and herbal spice along with all the greatest assets of fine Merlot – the rich expansive multi-layered tannins that provide tremendous depth on the palate and the rich mid-palate juiciness full of black fruits and now with age a beguiling leather and earthy savoury notes. The wine has tremendous energy whilst showing handsome tertiary development and to retain so much acidity in a grape that often lacks it underscores just how fantastic this wine is. 

Nicola believes this steep southwest slope of marl and sandstone is perfectly adapted for his old vine Merlot providing a marked elegance and complexity in his Rosso della Centa. The 2010 certainly reflects this and with only 1200 bottles produced virtually impossible to find. This is a unique parcel unlikely to be seen again and is entering into a beautiful drinking window. This wine is a piece of Italian winemaking history and one for any afficionado not to miss. 

It is always difficult to put fine wine into words but Nicola Manferrari’s philosophy outlined on his website gives possibly the greatest insight into this pioneering spirit of Friuli:
“I believe that in effect, the path I have followed has left its mark on the character of my wines which have, according to many, their own maker’s trademark. Over the last twenty years, I have transformed, studied and debunked certain common beliefs and have also overcome - while allowing plenty of room for the sacrilegious power of empirical observation – some of my own personal taboos. I have observed, researched and innovated in the face of hypocrisy and prejudice. 

"Often, however, while doing this I have unwittingly renewed ties with ways of the past which were interrupted by a modernity which had lost all sense and memory. It was probably my unorthodox approach to the world of wine that has guided my choices, meaning this also includes my checkered educational history; I was at the same time a child of scientific teachings and an orphan of technology. This has taught me to take absolutely nothing for granted, and the words of Galileo, which accompany me wherever I go, have taught me to be humble when facing all situations, and to be dignified when dealing with people.” 

Explore more Editorial

Whilst more famous for their white wines, one of Friuli's top growers, Nicola Manferrari, has a very special one-hectare plot dedicated to an incredible and rare world-class Merlot, Rosso della Centa Friuli 

We explore the history of the incredible and rare world-class Merlot Rosso della Centa Friuli 

Rosso della Centa, the first great Friuli red

Rosso della Centa: The first great Friuli red

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

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

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

Exploring artisan tequila producer Clase Azul  

Authentic agave: Clase Azul

Inside Burgundy – Jasper Morris MW  Jasper Morris MW’s upbeat report assures the reader not to panic about the treacherous growing season that Burgundy endured in 2021: “The wines taste much better than the weather conditions might have suggested.” While wary of generalisations, he feels the whites (what little was made) were good to very good and readers should have no qualms in following them. While the natural comparison might be to 2016 – another vintage badly affected by frosts which produced two generations of grapes – those that survived the frost and the secondary buds – the 2021s avoid the sweet-and-sour profile of that year. He also particularly highlights the wines of Puligny-Montrachet, which has rediscovered a “beguiling and refined floral bouquet” in the year.   
Quality among the reds, he feels, is less consistent, with the Pinot Noirs from the Côte de Nuits better than those from the Côte de Beaune. He highlights Chambolle-Musigny and Volnay as appellations that “show the elegance and fragrance… that has perhaps been missing for the last few years”. While far from classical, he believes many of the reds are “rather lovely in a style which we have not seen in the last few years”, thanks to the vintage’s cooler conditions.   
He compares the reds to 2014, but less “raw” than some of the wines made in that vintage, while the whites remind him of 2013. He also suggests the vintage for both red and whites has many similarities to 2010 – a vintage that received modest reviews on release, but has, with maturity, turned out to be “rather fine”.   
For him, both colours, although especially the whites “are very clear reflections of their individual sites”, and “show the hierarchical order from generic up to Grand Cru very clearly”. While he doesn’t feel they will “develop into legendary long-lived wines”, nor will they “fall over quickly”. Generally it is a vintage that is “what the French call digeste” – “accessible, easy to drink”, but he urges readers to “take the time to search out the gems which have successfully avoided any pitfalls in their path and will emerge as truly beautiful wines”.  
Read Jasper Morris MW’s full report on Inside Burgundy (subscribers only) 


Vinous – Neal Martin 
Neal Martin offers, as ever, a long report, with his trademark satirical opening. His verdict is that 2021 is “indisputably one of the most fiendishly complex, byzantine seasons I can recall” and the wines are “shockingly good in the context of an appalling growing season that pushed many to the brink, physically and mentally”.  He runs through the growing season in detail, noting the various challenges producers faced and how they responded – something which he highlights varied significantly, making it “a season without consensus”. Despite these difficulties, he finds many of the wines “blooming delicious” – noting that “the causal relationship between the vagaries of a growing season and wine quality is not as strict. Seemingly awful vintages can be studded with vinous gems and walk-in-the-park seasons can disappoint.”  Given the lack of consensus, he emphasises the variability of the year, and the need to drill down into the specifics of how each estate, and vineyard, fared – and he has offered a profile on almost each producer he visited to provide his insight. He points to the fact, for example, that the Grands Crus aren’t necessarily the best wines from each estate – and this is reflected in his scores. As for the style of the wines, he finds that the whites “sometimes convey traits of warmer vintages with traces of tropical fruit that counterpoint the acidity”, and points to Chassagne-Montrachet as a stand-out village – in his view, “the most dynamic appellation in the Côte de Beaune”. The reds he declares “a sharp return to the vivid red fruit of cooler growing seasons” – with most “far removed from the black/blue-fruited 2019s and 2020s”. “There is greater underlying mineralité, tension, and vibrancy on the palate compared to recent vintages. Tannins, at best, are finely chiselled, and the finishes often contain plenty of sapidity.”  
Overall, however, he feels that “the 2021s will offer abundant short to mid-term drinking pleasure” and are “delicious early-drinking fare”, but “only a small number will age long-term”, some wines not having “the substance to last the course”. Despite that, he’s overall positive, although notes that the tiny volumes and rising prices pose challenges: “There are gems to find. It’s just that you might not be able to buy them, and if you can, you might have to remortgage the house.”  
Read Neal Martin’s full report, tasting notes and scores on Vinous  
 Burghound – Allen Meadows 
So far Allen Meadows has published his reports on the Chablis, Mâconnais and Chalonnaise, and reds from the Côte de Nuits. His in-depth report runs through the varying meteorological considerations across the entire length of Burgundy, including for example a catastrophic hailstorm in Pouilly-Fuissé. For the whites from the outer reaches of Burgundy, he says that, “despite all of the growing season trials and tribulations, surprisingly good, sometimes even excellent, whites were made”. There are, in his view, some “cool, pure and wonderfully transparent whites that are intense, overtly saline and well-balanced” – but he emphasises that this is not a consistent vintage and selection is important, with quality varying. He feels “it’s not an easy vintage to pigeonhole” – and compares some wines to 2001 or 2013 for their exoticism, some to 2014 or 2017 for their restraint and freshness. From the Chalonnaise, he particularly highlights the wines from Joblot and François Lumpp for reds that are “lovely: fresh, energetic, reasonably concentrated, transparent and balanced”. When it comes to the Côte de Nuits, “quality is highly, even frustratingly, variable”, but “2021 is the kind of vintage that I absolutely love”. It is, in Meadows’ view, “a burg geek’s vintage par excellence" – with terroir transparency at its heart, with wines that are “strikingly refreshing and tension filled”. Many will make for “delicious drinking early on, yet be capable of amply rewarding mid-term cellaring and in a few cases, they should be as long-lived as most collectors would reasonably want” – with the caveat that some, unfortunately, are not. He highlights how work in the vineyard was key, tactics in the winery varied and picking dates too – noting that generally those who picked later fared better, but (in a running theme for the vintage) that is “far from a hard and fast conclusion”. Although most are medium-bodied, he feels that some producers shied away from extraction – with the result that some wines don’t quite have sufficient mid-palate density. With the quality varying, it’s a year to focus on “producer first, second and third rather than the commune”, although the classification hierarchy is clearly reflected in the quality of the wine. This is, most importantly, a vintage that is the opposite to 2018, ’19 and ’20, and he feels the closest comparison for the reds is 2001, with a similar 10- to 20-year arc of ageing ahead of them.  There are some wines that are underripe or herbaceous, but: “The best wines are classic Burgundies in the best sense of that term. They have something of everything in terms of a tantalizing freshness as they are decidedly very pinot in character followed by a dazzling transparency on the palate. As I noted above, the sense of terroir is at the core of each wine, and when a palpable sense of energy is added, the wines are a joy to drink.” Read Allen Meadows’ full report, notes and scores on the Burghound site Decanter – Charles Curtis MW The headline of Charles Curtis MW’s report is that there are “some excellent wines, if you choose carefully”. The “antithesis of recent years”, he anticipates that those who are selective will “be delighted by the classic style of this vintage”, which has produced “crisp, concentrated” whites and – at their best – reds that are “perfumed, elegant and structured”. He emphasises how important the harvest date was, as well as sorting once the fruit was picked. Although he found significant variability in quality – “with liltingly charming wines alternating with less successful examples” – he is clear that “the best wines are definitely worth buying”. His wines of the vintage are Domaine des Comtes Lafon’s Montrachet and Armand Rousseau’s Chambertin-Clos de Bèze – wines that, sadly, few will be able to get their hands on.  Read Decanter’s full report, notes and scores Jancis Robinson MW Jancis Robinson MW’s site offers extensive coverage of the vintage mainly by Burgundy-based Matthew Hayes and herself, with extensive tasting notes. Jancis’s own report – based on tastings mainly in London and published in early January 2023 – vouched for the quality of the fruit at harvest, and how despite “a gruelling growing season”, with the results that she had so far tasted “delicious”.   Matthew Hayes doesn’t shy away from this being a “difficult” vintage, but “quality has been unexpectedly higher than received wisdom suggested”. Beyond the challenges of the growing season, Hayes highlights how the winemaking was handled differently almost everywhere, although generally people reduced extraction. He’s wary of giving the year “the kiss of death” by declaring the vintage “merely good”, but considers how there’s more to greatness than ageability. For him it is a vintage that “will appeal to real cognoscenti of Burgundian Pinot Noir, to the absolute devotees of fragrance, limpidity and soft, ethereal tannins – that gossamer touch that normally speaking should take decades to evolve”. The wines are earlier-drinking given how open they are – a relief in some senses that you needn’t feel too guilty of “infanticide”.   Read all Burgundy 2021 coverage on jancisrobinson.com Wine Advocate – William Kelley William Kelley’s greatly anticipated report is his longest to date. He feels that the complexities of 2021 and what he sees as a pivotal moment for the region deserved the extra word-count. He runs through the year’s conditions in detail, which we won’t regurgitate, although – contrary to our findings – he suggests the Premiers and Grands Crus were harder hit by the frost. Like us and others, he highlights that strategies in the winery varied significantly and generalisations are almost impossible. He considers what “a great red wine vintage” is in the era of modern Burgundy and climate change – and whether the 2021s’ openness will work against them. They are, he says, “supple, fleshy and perfumed, at their best uniting the concentration of low yields and surprisingly good phenolic maturity with the vibrant, perfumed profiles of a cooler vintage”, “broad, open and charming” and, in his view, “unlikely to shut down”. He compares the wines to 2017 or 2000, and expects they will at least age as long as the latter.  As for the whites, he finds them “classically proportioned, pure and fine-boned, albeit sometimes a little lean out of the gates”. The closest comparison for him is 2013, although without the exoticism sometimes found in that vintage. He highlights that the wines are developing texture and flesh during élevage and will show better from bottle than barrel. Of course, he cautions readers that they will need to “buy wisely”, but highlights that, even tasting over 1,000 wines, there were “very few failures” – with the year’s results far more positive than he expected from the difficult year. Indeed, he even declares them “some of the most charming young Burgundies [he has] tasted from barrel over the last 15 years” – but, he asks, “Are they too tasty to be great?” As for the market, he notes that “the 2021s will be expensive”, but this is tied to not just demand, but land prices in the region, as well as its archaic inheritance laws and significant taxes. The inevitable result of these factors is consolidation, and while once the nobility and Church held the keys to the land, now it’s billionaires and corporations – with the future of small, family-owned domaines in doubt. His final line is one filled with a sense of urgency: “Enjoy it while it lasts”. Read Kelley’s full report, notes and scores on the Wine Advocate 

Read more about Burgundy 2021, including our full report in the vintage 

The leading critics are offering their verdict on Burgundy’s 2021 vintage – a challenging but surprising season. Here we offer a crib-sheet to what they’re saying about the year so far

The leading Burgundy critics’ views on 2021– with a summary of what Neal Martin, Jasper Morris, Allen Meadows and William Kelley’s are saying

Burgundy 2021 – what the critics are saying

Burgundy 2021: the critcs’ verdict

Bodegas Burgo Viejo

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

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

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

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

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

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

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

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

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

Bodegas Burgo Viejo

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