Marco Simonit has become something of a celebrity in the world of wine, but his specialisation – pruning – is not normally considered glamorous. Pruning is often low-paid work left to contract crews. But with his childhood friend Pierpaolo Sirch, he set up the Simonit&Sirch pruning consultancy that now has a team of 20 experts operating all over the wine world.  Partly this is because of the rise in grapevine trunk diseases, which are considered a major threat to viticulture. Simonit’s pruning methods are suddenly in high demand because they have the potential to vastly reduce the risk of trunk diseases. Now, in conjunction with FINE+RARE, he has made his first wines from old vines in Collio. The origins of Marco’s interest in the vine began with his background. "I lived with my grandparents because my father died and my mother worked," he says. "They had a small farm with cows, horses, sheep and goats, and also a small vineyard to make wine for the family’s consumption."  He says that it was a good environment to grow up in, surrounded by nature with a gentle pace of life. His real passion was animals, though – not vines – and he had set his heart on becoming a vet. But after studying agriculture at the local college in Cividale in Friuli, he had to take a job. He began working as the technical adviser for the Consorzio of the Collio DOC in 1988, a role he was to fulfill for a decade, offering guidance to growers on viticulture. "I loved the landscapes, and I loved to observe the trees, plants and hills," he recalls.  Then one day, he started drawing vines. "After work, I would go to the fields, and I drew the vines," says Simonit. "I drew the trunk and the arms and the canes and leaves, and I met the wounds. There were a lot of wounds. I started to think about what it must be like for the vine." Observing the pruning wounds and their effects on the old vines made a big impression on him. He asked a viticulturist if he could pull out an ailing old vine, and when he got permission, he approached one of his friends who was a carpenter. "I asked him if it would be possible to help me make a section through an old vine," Simonit recalls. "He said, this is a strange request. Why do you want to do this? I said I wanted to see inside."  So with the aid of the carpenter, Simonit cut the vine in half. "It wasn’t completely dead but it wasn’t in good health," he says. "It had an extraordinary impact on me: when I saw inside, a big part of the vine was destroyed. A small part of the wood was white (alive), but most of the inside of the trunk and the arm was brown and black, and with fungi. I was shocked." At that time no one in the schools and universities had sectioned vines to look at the consequences of pruning. "I called my professors and I spoke about this, and the professors said, Marco, since the beginning people have always approached pruning the vines in same way, so why are you going crazy taking the trunk and making sections to see what is happening inside? Just do a normal pruning like everyone has always done." None of the professors he spoke to were interested in his ideas. But he decided to carry on.  His growing obsession with old vines led him to start travelling, initially around Italy, and then further afield. He saw a similar pattern everywhere. "In these years the viticulture was changing," he says. "A lot of local training systems, such as pergola in Trentino, tendone in Abruzzo and albarello in Sicilia, were being transformed."  People were turning to more ‘modern’ ways of training vines, such as vertical shoot positioning (VSP), and then after 20 years these new vineyards were starting to lose vines to trunk disease. "The spacing for growing the vines wasn’t enough," he says. "In its natural state, the vine is a creeper, a liana. For sure, it is not easy for the vine to remain in the same position for a lot of time, with domesticated demands, without consequences for its health and longevity." He came back to Collio. "I asked some viticulturists if it would be possible for me to try to change the approach of the pruning in modern vineyards. I wanted to change the approach to pruning because the consequences were terrible. The response was they said they didn’t really understand what I wanted to do, but they let me try. In the beginning of 1990 I started to introduce a new technical approach to pruning and shoot thinning by myself in different places in Friuli." Simonit didn’t have a program, and at the time hadn’t heard of Guyot-Poussard pruning, which is an old system that’s somewhat similar to the technique he developed himself. Over a ten-year period he tried to find new solutions, observing old vines and applying different approaches. After this period of experimentation, he thought he had something worthwhile, and he began to approach professors and viticulturists, only to meet with disinterest. Attilio Scienza, professor of viticulture at Milan University, was the exception, though. "Scienza said to me, it is interesting what you do," he recalls.   "Scienza was impressed with my work and started to speak about it with important producers in Italy, such as Bellavista and Ferrari," says Simonit. "And in Schiopetto we built our campus, our laboratory. In Schiopetto today it is possible to see and touch the last 30 years of my work." This was the early 2000s, and although Simonit was starting to get his first consulting gigs, he wasn’t sure that pruning was going to be his professional future.  "But I thought: I believe in this. I had a passion for vines and wanted to help reduce the risks from bad pruning. And I thought, maybe the top wineries in Italy might be interested in my new approach for pruning and shoot thinning. I tried to call these guys and show them what I was doing in the campus of Schiopetto. One day I was in my car, and I looked up Angelo Gaja’s number. I thought this guy might be interested because the wines are expensive and high quality. Maybe he would be interested to keep his heritage vines." "I called and asked the secretary whether I could speak with Angelo." He was stunned to be put through to him. "I told him that I’d worked in a lot of vineyards over the last five years to find a new solution for pruning and shoot thinning, and I asked him if he was interested in coming to Friuli to see it in action.  He said yes, and two weeks later he came along with his entire team from Piemonte and Tuscany to Friuli. They were really impressed, and a few weeks later I had contracts with Angelo Gaja, Ferrari and Bellavista." This was in 2003, and Simonit finally began to see that this was going to be his future. He took his approach all over Italy, working with some of the top estates, including Frescobaldi, Planeta, Tasca d’Almerita, Feudo di San Gregorio and Ornellaia.  What is different about the Simonit approach?  There is no recipe because vineyards, regions and training systems are all different. But there are two main principles. The first is that the sap flow of the vine has to be respected, and pruning cuts are made with this in mind. The second is what Simonit describes as ‘ramification’. "One of the big principles for respecting vines is independent of the training system you use, or the variety," he says.  "It is ramification. You first build the trunk (the first structure), then the arms (the second structure). It is like a chronology. You need to build a chronology of wood." He points out that the vine is naturally a creeper, and that pruning should respect this as much as possible. "Our principle rule is ramification. Build a chronology of live wood: first floor, second floor, third floor and so on."  So, for example, with a double Guyot, the canes chosen on each side of the vine should be furthest from the head each time, with the replacement spur the outside cane, and the cuts should always be made on the upper branch. When a cut is made, it should be of young wood only – one or two years old. And the cut should not be made flush to the trunk, because there is always what is called a ‘cone of dessication’, roughly equal to one-and-a-half times the diameter of the cut, where the wood left dies back. This can interfere with the sap flow and make the vine susceptible to trunk disease.  But respecting the sap flow isn’t always key. "Not all the varieties suffer if you don’t respect the sap flow," says Simonit. "Some varieties are very sensitive, like Sauvignon Blanc, Cabernet Sauvignon, Cabernet Franc and Sangiovese. Others don’t suffer a lot. For example, Nebbiolo and Semillon. I work for Château d’Yquem. They called me because the Sauvignon Blanc is being destroyed by trunk disease after 20 years. The Semillon is not: it has super energy and lives a long time, because the genetics are different." "But always respect the ramification. If you think about the albarello in Primitivo in Puglia, they grow up vertically. The arms of the Primitivo grow up vertically. It isn’t possible to respect the sap flow. For other examples of alberello training with different varieties, such as Moscato d’Alexandria, to follow the sap flow is necessary. We need to find solutions for each variety in each terroir: it’s not always possible to take the same approach." Bordeaux came calling A big moment for Simonit was when he was contacted by the late Denis Dubourdieu in 2011. "Denis called me from Bordeaux, because with the Guyot Médocaine, after years and years, there wasn’t enough space for the canes. They wanted to know what to do." If canes are taken from the outside each time, after a while the vines grow out along the row, and when the planting is close, they run out of space.  In Bordeaux, their solution was to take a shoot from inside, close to the head, and then lay that down after cutting the old arm off. Often, this would result in fatal trunk disease. "They destroyed a lot of vines this way, trying to regain the space and reduce the risk of congestion of canes overlapping," says Simonit. "This was a disaster for the Médoc and all the double Guyots in the world, because the big wounds destroyed the vines." "We started with a new approach in the Médoc, introducing the spur in the sap flow, building the chronology, preparing new exits for two or three years in the way of the sap flow, and then cutting the big arm, far away from the position of the new spur. This is one of the smart solutions when you have lost a lot of spacing. But this problem is particularly present when the distance between the vines was not enough in the first place when they were planted." Simonit now has many prestigious clients in Bordeaux. The dangers of high-density planting High-density planting is very popular these days, but it is causing problems because the vines are planted too close to allow for sustainable pruning approaches. "The risk is that if you don’t have the idea of the vine architecture at the beginning for the next 50 or 60 years, it becomes a problem. I see this problem all over the world, not only in the double Guyot, but also in Bourgogne and Champagne and Provence: everywhere. The big problem is people and space: people are scared to leave space for vines. Then to create space they use pruning, and it is a disaster." "In the past in Bordeaux, particularly in the Médoc, the Cabernet Sauvignon was planted further apart. Now we find Cabernet Sauvignon vines planted 80cm apart. We need to think about this for the future sustainability of vines and vineyards. We need to speak about the space. If we build vineyards for the next generation we need to think about the spacing." One idea that Simonit has adopted from Dubourdieu was ‘curetage’. Dubourdieu gifted Simonit with a book: this was René Lafon’s 1921 title Modifications à apporter à la taille de la vigne des Charentes, taille Guyot-Poussart mixte et double: l'apoplexie, traitement préventif (méthode Poussard), traitement curative.  This book described the experiments on pruning carried out by Eugène Poussard, a viticulturist in the Charentes area. Poussard is responsible for the vine pruning system called ‘Guyot Poussard’, which is very similar to Simonit’s system. But he also treated affected vines using ‘curetage’, cutting away affected wood. "More than 150 years ago this man was trying to do some surgery on the vines with rudimentary tools," says Simonit. "Denis asked me to go to Sancerre, because he knew that a lot of older viticulturists had used small chainsaws to open the vines and clean the wood affected by fungi, and the vines survived." They headed to the Loire and visited different vineyards. Sancerre has been particularly badly hit because Sauvignon Blanc is very susceptible. "We shared experiences with François Dal [another pruning expert who works for Sicavac, the regional technical body], and he was also interested in working with chainsaws. We tried doing this surgery in the wineries of Denis Dubourdieu, like Château Reynon, Doisy-Daëne and Floridène. In 2014 we began teaching others how to do this." As soon as the first foliar symptoms are seen, then any soft wood that has been infected by the fungi is cut out of the trunk. The infected wood produces toxins, and once it is taken out, the vine usually recovers.   FINE+RARE x Simonit&Sirch Now, for the first time, Simonit has begun making wine from old vines, in conjunction with FINE+RARE. "On my trips and jobs around the world, I met a lot of old vines, and sometimes these vines are not vinified separately," he says. Making small parcels of wine appeals to him. "It is a ways of speaking to people about the importance of old vines for increasing the identity of wines, speaking about vineyard sustainability, and thinking about the relation between humans and vines." He adds, "I wanted to make wines that speak about this philosophy." "Patrick O’Connor [of FINE+RARE] and I share a mutual friend, and he knew about my idea," says Simonit. "One day Patrick called me to ask me if it’s possible to organise a meeting because he was interested in this old vines project. He was very excited about the idea, and he proposed starting this project in Friuli, where my heart is." "He asked me which varieties were most interesting for me. I chose Sauvignon because I love it, and it is very difficult to have old vine Sauvignon because of trunk disease. Many of the vineyards have vines of different ages, because after 25 years the original vines often begin dying, and people co-plant with new vines. Then they make wine with all the vines – young and old – together. Also, I chose Chardonnay: in Colli Orientali we have the oldest Chardonnay in Friuli, 80 years old. And after I chose Friulano, which is 50 years old." Winemaking is in the hands of Christian Patat, an old friend of Simonit’s. "Twenty years ago we started with a small project but it stopped because we were both so busy. So when FINE+RARE and I began working, I spoke to Christian seeing if he could make the wines. He married the owner of Ronco de Gnemiz, and he makes the wines there. This guy has an approach to wine that’s close to mine – we like the same sort of wines. Our goal was to make two or three barrels of each variety." This is Marco’s first wine project. "I have never thought about making wine before. Now I’d like to expand this project to other Italian regions, and also other countries, with a small production focusing only on old vines." "It is a unique approach because we try to vinify with just the oldest vines. In the Chardonnay project, for example, we don’t use all the vines. Part of the vineyard is 80 years old. We pick only the grapes from the original old vines to make this wine from. These wines speak about the relationship between humans and vines, sustainability, the importance of the age of the vine, the importance of terroir." Tasting notes The wines are called L’Età Più Bella (With Age Comes Beauty), and will be released as a mixed case of three separate cuvées – a Chardonnay, a Friuliano and a Sauvignon Blanc. L’Età Più Bella Sauvignon 2018 - Collio, Italy "13% alcohol. Lean, taut and chiselled, this is a bright lemony Sauvignon with good acidity and some fine herbal hints. It’s quite compact and mineral with precision and focus, finishing quite taut. Stylish stuff." L’Età Più Bella Friulano 2018 - Friuli Colli Orientali, Italy "14% alcohol. There’s good density here with taut pear, apple and lemon fruit, as well as a touch of richness on the mid-palate. This has a lovely focus, combining some richer notes with good acidity and a long, mineral, subtly nutty finish. Beguiling and elegant. " L’Età Più Bella Chardonnay 2018 - Friuli Colli Orientali, Italy "13% alcohol. Hazelnut, spice, honey and citrus on the nose. The palate has fresh fruit with an appealing cedary, woody, spicy undercurrent. Citrus, pear and white peach, with a warm spicy finish. Lovely intensity here, with good fruit purity." Explore more Editorial 

Self-confessed wine anorak Jamie Goode explores Marco Simonit’s rise to fame – from his formative years with his grandparents in Friuli, to the establishment of his successful pruning consultancy Simonit&Sirch – and the ideologies that have influenced his first wines made from old vines in Collio

Wine anorak Jamie Goode explores Marco Simonit’s rise to fame with his Friuli wine estate and tastes L’Età Più Bella Chardonnay, Sauvignon and Fruiliano  

'Wine Anorak' Jamie Goode speaks to Marco Simonit

'Wine Anorak' Jamie Goode meets Marco Simonit

“I want to struggle,” says Cristiana Tiberio, earnestly, as we talk in London. This Abruzzo winemaker has rapidly become one of Italy’s most fashionable names. Thanks to her hands-off approach in the winery, she’s a darling of the natural wine scene, but is also earning top scores and rave reviews from the likes of Eric Asimov (The New York Times), Antonio Galloni (Vinous) and Ian d’Agata. But, as I found talking to her, she’s far from complacent.  Cristiana fell in love with wine as a teenager. Her father, Riccardo, was friends with Bruno Giacosa and the legendary Piedmontese producer’s wines were her favourites. She noticed early on that wines made with the same grape from different sites tasted totally unlike each other. “Wine was an infinity world,” she tells me, still with a touch of whimsy – and it was a world that she set her heart on exploring. When the time came, she set off to study chemistry at university – looking to the science behind wine rather than more practical oenology. Before she knew it, however, she’d been diverted, ending up with a PhD in photochemistry, far from “the infinity world” she’d committed to. So she quit. Instead, she travelled the world, working with various top producers, including Jacques Selosse, Nicolas Joly, Egon Müller and leading names in Chablis, before returning to Abruzzo in 2004.  In the meantime, her father Riccardo had found a special parcel of land in the mountains near the town of Cugnoli, with an abandoned plot of Trebbiano Abruzzese – the indigenous grape that had largely disappeared from the region. With its large, juicy berries and thin skins, this variety is more susceptible to fungal disease, can be challenging to ripen and lose its bright acidity if not picked at the perfect moment. Trebbiano Toscano (ubiquitous across much of Italy, and in France under the guise of Ugni Blanc) had replaced many plantings – favoured for its small berries, ability to accrue sugar easily and retain its moderate acidity.  This abandoned vineyard had survived largely because of its unique site – with canyons to the south and west, meaning a wind blows through the vines constantly, clearing the humidity and reducing disease risk. It was also planted in the traditional Abruzzese pergola system, with two vines planted at each post, wider (four-by-three-metre) spacing, providing competition but also forcing the branches to grow longer, meaning a larger canopy, aiding photosynthesis and therefore ripening. Now 95 years old, these ungrafted vines had also endured thanks to their fortuitously sandy soils (a neighbouring plot, on marly clay, had to be replanted on rootstock, and is now around 80 years old).  While the Trebbiano Abruzzese was the lure of this site, much of the property Riccardo purchased was unplanted. Today, Tiberio has 30 hectares of vines, all in one contiguous parcel – with additional woodland, as well as alfafa and wheat fields, all part of the family’s championing of biodiversity. And, as much of the area hadn’t been planted, the property hadn’t suffered from industrial farming – meaning the soils were already healthy, however preserving it is at the forefront of what Tiberio does.  The vineyards are divided between Trebbiano Abruzzese, Pecorino and Montepulciano – a fraction of the various grapes permitted in Abruzzo, but – importantly for Cristiana – the ones that were historically native to their mountainous terrain. They only planted with massal selections – something Cristiana feels is key. She argues that clones sourced from vine nurseries are designed to be planted anywhere, sacrificing anything “native” in the name of disease resistance and/or yield. “For me, historical heritage is everything in the wines,” she explains. On a more practical front, she finds that massal selections cope better in difficult vintage conditions, adapting more easily. As evidence, she points to a plot of ungrafted vines that she planted in February of this year (2024), explaining how despite the extremely dry conditions, the vines survived – entirely unirrigated.  While Cristiana clearly values the traditional pergola training, she has chosen to use guyot training for most of their vines. The old vines – largely used for Fonte Canale and Archivio – are under pergola, however she doesn’t feel it’s right for everything. When it comes to Pecorino, she explains how the variety naturally grows vertically, meaning pergola-training would force the vine into an unnatural shape, impact sap flow, and therefore quality. As for Montepulciano, while they have 2.5 hectares (used for Archivio) under pergola, she feels that the pergola system can push the grape’s rustic character – the thin skins with less phenolic ripeness (due to shading) at risk of producing more easily extractable, less refined tannins. For her, guyot elevates the flavour profile of the grape and helps balance the potentially aggressive tannin, avoiding it being too “loud”.   Cristiana’s brother Antonio is in charge in the vineyards, where they work organically. They briefly trialled biodynamics, however have veered away from using the preparations, along with any fertiliser or seeded cover crops – keen to avoid adding any outside inputs that aren’t “respectful of their terroir”, as Cristiana puts it. The winemaking continues this philosophy, with indigenous yeast, almost no new oak across the range (just 30% for the Archivio bottling), the wines unfined and unfiltered, largely avoiding temperature control where possible, and SO2 only added at bottling.  Although organic, they aren’t certified – something she feels strongly about. She explains how both dedicated, small growers and “big, industrial” producers can bear the same certification, while one’s farming is considered and artisanal, yet the other is borderline conventional. It “certifies our attitude and we stay lazy”, she tells me. “We stop struggling with our mind to find what is better for our terroir,” she says – something that she is anxious to avoid, keen to continue striving, pushing and working to do better, rather than tick a box and move on.  And that work is not merely intellectual. Having just finished harvest in Abruzzo before touching down in London, she was soon flying off to Oregon – squeezing in a second northern-hemisphere vintage at a property there. It’s a chance to learn, and few 50-year-olds seem to be quite as restless as this one. While Tiberio is a family venture, it’s not one that was passed through the generations – something for which Cristiana is grateful; she has been able to choose her site, choose the wines she’s making and define her own philosophy – one that is now resonating loud and clear around the world.  The Tiberio range  The regional wines  Trebbiano d’Abruzzo: Tiberio’s entry-level Trebbiano Abruzzese comes from three hectares of 75-year-old pergola-trained vines, those that were grafted 14 years after their oldest (dedicated to Fonte Canale). Only made with free-run juice, it’s fermented and aged in stainless steel.  Pecorino Colline Pescaresi: The vine material for their Pecorino was selected from a few old vines on the site, but comes from a 3.8-hectare plot planted in 2001 and guyot-trained. Only made with free-run juice, it’s fermented and aged in stainless steel. These are some of the oldest Pecorino vines in the region and the wine is unlike the modest Pecorino you may have previously tasted – ageing impressively.  Cerasuolo d’Abruzzo: This rosato is very special. It comes from nine hectares of Montepulciano, planted in 2001 and Guyot-trained. Made with free-run juice (with no maceration whatsoever) and only seeing stainless steel, it’s a perfumed and bright style of rosé that can and should age.  Montepulciano d’Abruzzo: This is the largest production cuvée, coming from 15 hectares of Montepulciano – both older pergola-trained vines (62-year-old) and younger Guyot (planted in 2001). As with the other entry-level wines, it only sees stainless steel, spending 15 days on skins.  Single-vineyard bottlings  Fonte Canale: Arguably Tiberio’s most sought-after wine, Fonte Canale is pure Trebbiano Abruzzese from 736 ungrafted, 95-year-old vines, spread across around two hectares of sandy soils. (They currently aren’t replanting the individual vines when they die, as don’t want to plant grafted stock, but are cautious of fragile young ungrafted vines attracting phylloxera.) It was first made in 2012, with these ungrafted vines needing time to recover from their previous neglect. The combination of site and variety produces wines with modest alcohols (often 12-12.5%) and naturally low pH (the 2018 is a mere 2.7pH!), giving a backbone of taut acidity (as Tiberio says – “not raw, but flavourful acid”). The site’s indigenous yeast produces a cool ferment (reaching maximum 23̊C) and a wine that doesn’t need racking post ferment, with little reduction. The malolactic is naturally blocked by the low pH and the wine only sees stainless steel – “to allow this wine to express its meaning”, Cristiana says. This stunning, vibrant white is a pure expression of a special site – one that ages beautifully, with its old vines almost overpowering vintage. If any further praise were needed for this wine, it has featured on the list at Massimo Bottura’s Osteria Francescana since its first release.  Colle Vota: First bottled separately in 2014, this vineyard is always the last to be picked. Planted in 2000 with massal selections from their old Montepulciano and guyot-trained, Tiberio finds the berries have thicker skins but release less during maceration (around 20 days). She also finds the tannins in the stems different here so is using a small portion of whole-bunch fermentation in the blend. Again with only free-run juice, the wine doesn’t see any oak whatsoever. Coming in a Burgundy-shaped bottle, this is the lighter of Tiberio’s two Montepulciano bottlings, but still with a firm tannic backbone, but with more delicate perfume.  Archivio: Launched in 2017, Archivio comes from the property’s 60-year-old pergola-trained Montepulciano on clay-rich soils, where the wind helps thicken the skins. Tiberio finds that the fruit has thinner skins from the middle of the pergola system, so these bunches are harvested separately. With thinner skins, the ferment has more lees and more reduction, needing oxygenation, so this is the 30% that goes into new oak to give it the necessary air. The bolder and firmer of the two Montepulciano bottlings, it is bottled in a Bordeaux-style bottle to indicate its ageing capacity – a wine that Tiberio confesses can be “monolithic” in youth, but offers great potential.  And coming soon… Quarmarì: A new single-vineyard Pecorino from 2023, this wine takes its name from the family dog, who passed away a few years ago. The wine has – so far – only been tasted by Ian d’Agata, who wrote that it is “a wine so amazingly good and unique that it will shatter all you thought you knew about the grape and what it can deliver”. Given how good even the entry-level Pecorino is, we can’t wait to try this.  The vertical tasting Pecorino  2006 Pecorino Colline Pescaresi: It’s hard to believe this is close to two decades old – the wine vibrant, lively and juicy with lean lemon freshness to the palate. There’s a suppleness to the body, yet it’s taut and mineral, and more honeyed and herbal notes emerging with air.  2009 Pecorino Colline Pescaresi: The 2009 Pecorino is instantly open, giving sage, thyme and honey on the nose, alongside fresh white peach. On the palate, however, it shows its restraint – still fulsome but with a mineral backbone that makes it feel youthful.  2013 Pecorino Colline Pescaresi: Leesy and mineral, this is almost reminiscent of mature Chablis or Blanc de Blancs Champagne – with a honeyed, chamomile edge. The palate is waxy and long, with a herbal lift to the finish.  2015 Pecorino Colline Pescaresi: There remains a creaminess to the nose here – the wine tighter than the 2013, with a limey, lean purity and plenty of energy.  2019 Pecorino Colline Pescaresi: This is strikingly different after the 2015 – much riper and more exotic, with apricot, peach, mango and orange peel. Combined with the wine’s viscosity, there’s something Viognier-like, however there’s still brilliant, mineral energy here, with tight, citrus-edged acidity.  Cerasuolo d’Abruzzo  2022 Cerasuolo d’Abruzzo: It will be amazing to see this wine develop. The nose is restrained – you can feel the potential behind. Gradually wild strawberry and bright raspberry emerge, alongside delicate rose petal florals. It’s tightly wound with immense energy to the flinty palate, a minerality driving through its core into the long, mouthwatering blood-orange finish.  2020 Cerasuolo d’Abruzzo: Deeper-coloured than the 2018, the 2020 has a brighter nose – with raspberry sherbet, strawberry laces and a creamy richness. The acidity again is in the driving seat, the palate chalky and mineral with lemon freshness and a slight phenolic grip that frames the crunchy red fruit.  2018 Cerasuolo d’Abruzzo: A surprisingly deep pink (especially given this is made only with free-run juice), with a copper hue. This was a real highlight of the tasting. The nose combines a flinty minerality with a funky, savoury, almost cheesy note, alongside dried cherry and rose florals. The palate has a line of bright acidity and a mouthwatering lemon finish. Very serious rosé that deserves bottle age.  Fonte Canale  2021 Fonte Canale: From a very dry growing season, this is such a baby. The nose is mineral with notes of pear skin, white florals, lime pith and cordial, with riper apricot emerging. It’s vibrant and full of tight, lemony acid, driving on to the chalky finish. Precise and pointed, there’s crisp apple and herbal freshness, with a saline edge.  2020 Fonte Canale: At first with a touch of gunflint reduction, the smokiness gradually lifts to reveal a tight and lean expression of Trebbiano d’Abruzzese – all citrus and mineral, needing time and air to reveal itself fully.  2019 Fonte Canale: The nose here combines vibrant green apple, greengage and lemon with a sea-spray freshness. It’s still limey and tight on the palate, but with a soft, full weight too – with generous yet tangy, white-pear fruit on the mid-palate, before tightening up on the saline, mineral finish.  2018 Fonte Canale: Dried herbs mingle on the nose with more hedonistic fruit – peach and green mango,, with real weight to the fruit here. There’s still the bite of piercing lemon acidity, surrounded by fleshier peach fruit.  2017 Fonte Canale: This feels much more closed in comparison to the 2018, with pure citrus energy, tangy, pure and limey, but with a slight creaminess mingling with the tart fruit. It’s concentrated and full of promise, but not giving much away now.  2016 Fonte Canale: Waxy and bright, the 2016 is full of energy. Pure flint, Meyer lemon and grapefruit pith, with more delicate white florals all vie for attention, while the palate is all about pure crunchy apple, minerals and its vibrant acidity.   2015 Fonte Canale: The nose here is complex – with notes of honey, chamomile, tarragon, bruised apple and a praline richness. The palate, meanwhile, feels brilliantly youthful, with lime sherbet and chalky minerality driving long into the mouthwatering finish.  2014 Fonte Canale: This was closed at first, with subtle floral tones of apple blossom and honeysuckle dancing on a background of lemon and pear flesh. The palate has that familiar drive of acidity leading into the impressively long, saline finish.  2013 Fonte Canale: Fresh cashew mingles with lemon sherbet on the subtle nose of the 2013, a wine with lift and energy. The palate is lively and long, with the finish offering honey, herbal notes and sweet hay.  2012 Fonte Canale: The first ever vintage of Fonte Canale, it was a real treat to try this special wine. The nose combines rosemary and thyme with candied lemon peel, as well as more honeyed notes. The palate is lithe and vibrant still, with a stony purity and saline finish.   Colle Vota  2020 Colle Vota: This combines juicy dark fruit, sweet spice, baked plum and violet florals. Rich black and red cherry fills the palate, with an edge of dried herbs and the scent of nutmeg. The tannins are savoury and firm, with a chalky freshness and zesty edge to the acidity.  2019 Colle Vota: The 2019 offers floral lift, with brighter cherry and raspberry fruit. Less savoury than the 2020, the palate is tight and mineral, yet with a softness to the mouth-filling fruit, all cut by juicy acidity.  2018 Colle Vota: This is drastically different to the 2019, offering an aromatic profile of baked strawberry and tea leaf – almost lapsang souchong. The chalky minerality stands out here, with high, piercing acidity giving the wine backbone.  2014 Colle Vota: There’s a significant colour change moving from the 2018 to the 2014 Colle Vota, while the nose reinforces this shift with leather and damp undergrowth sitting alongside dried red fruit. The tannins have softened and are supple, while the acidity still refreshes and cuts through the fruit.  Archivio  2020 Archivio: Savoury and rich, this is a powerful, dark, compact Montepulciano d’Abruzzo that needs time. It is intense and structured, full of tight bramble fruit and drying tannins, but with an impressive line of acidity at its core.  2019 Archivio: This is much more open than the 2020, with a sweeter, more red-fruited profile, and more overt sweet spice. Dried herbs and incense complement the bramble fruit. There’s a firm chalky grip to the tannins, tightening up as the structure announces itself on the palate, yet with mouthwatering acid keeping things balanced.  2018 Archivio: The sweet, baked red fruit of the vintage seems to carry through both of the reds in 2018. There’s a softness to the fruit, yet still power behind. It’s full-bodied and firm, yet the most approachable of the trio of 2018, 2019 and 2020, with fresh, juicy acidity.  2017 Archivio: There’s a touch of maturity just starting to show here, with the first hint of sousbois and leathery richness, an almost tarry character, sitting alongside the sweet plum, baked blackberry and smoke. The tannic framework stands strong, even seven years on, needing additional bottle age to round out.  Explore all current Tiberio listings or read more about Italy 

Few names in Abruzzo have become as sought-after as Tiberio, best known for her single-vineyard Fonte Canale, Colle Vota and Archivio bottlings. We sat down with Cristiana Tiberio herself to talk about the project – and taste through a vertical of these extraordinary, category-defying wines

Sitting down with Cristiana Tiberio, cult Abruzzo winemaker, and tasting a vertical of Fonte Canale, Colle Vota, Archivio wines

Cristiana Tiberio – advancing Abruzzo

Advancing Abruzzo: Tiberio

Domaine l'Heritier-Guyot

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