Maule is the engine room of Chile’s wine industry. With over 37,000 hectares of vines, it is by far the country’s largest wine region, churning out a quarter of the nation’s production. Although it has a long history, first planted in the 16th century, its modern reputation is for providing cheap fruit to bulk out the blends that have become synonymous with Chile’s supermarket standard-bearers. But a quiet revolution is underway, with a small group of producers championing the old-vine heritage of this region. And now Francisco Baettig is adding his name to the list, shining a light on the region.  Baettig – the man who built his reputation crafting the iconic wines of Errázuriz, Seña and Chadwick – started Vinos Baettig with his business partner Carlos de Carlos back in 2012, laying down literal roots in the little-known, cool-climate Traiguén district of Malleco, on the same latitude as Patagonia. They made their first commercial vintage of chiselled Chardonnay and vibrant Pinot Noir in 2018, but that was just the beginning for the duo.  They had, Baettig tells me, always planned to make Cabernet Sauvignon. And that’s no surprise given Baettig’s background, having studied in Bordeaux and made his name crafting Cabernet Sauvignon blends that rival those of the Médoc. They decided, however, to start with Chardonnay and Pinot Noir in the south, where they already had family ties and land was more affordable, while they hunted down the right site for their Cabernet project.  For Baettig, working their own vineyards is integral to Vinos Baettig, as is dry-farming – and, for Cabernet Sauvignon, Baettig was particularly keen to have old vines, and that, he shrugs sadly, is not so easy to find. As well as being resilient enough to be dry-farmed, older Cabernet Sauvignon vines generally produce lower pyrazine levels (compounds which are responsible for a green character in wine), as well as lower sugar levels at phenolic and flavour ripeness – allowing him to produce wines with more moderate alcohol levels.  He had previously worked with a parcel of Cabernet Sauvignon in Maule and loved the fruit from these low-yielding vines, which retained acidity and offered great aromatics, colour and gravelly tannins that are, in his view, almost Saint-Estèphe in style. It was he felt, “Cabernet with a special personality.” And so, they looked to Maule, but avoiding the warmer areas that can produce bigger, riper styles – instead they headed south of Cauquenes, towards the Cordillera de la Costa, or coastal range.  It took them over a year, but eventually they found an old País vineyard – planted 120 years ago – where two hectares had been grafted over to Cabernet Sauvignon. The grower was charging only 15 cents per kilo for the fruit – but the Cabernet was being harvested alongside the Pais, chucked in together and sold for a pittance. Baettig asked if he could quadruple the price and get it harvested separately. The grower couldn’t believe his luck.  Baettig and Carlos found another few vineyards that showed promise, which together formed the basis for the first vintage of Los Compadres Cabernet Sauvignon. This is one of their Vinos de Viñedo, or village-equivalent wines, with the name “Los Compadres” (close friends) a tribute to the growers with which they’re working. Alongside their “village” wine, however, Baettig always crafts a single-site bottling, a Selección de Parcelas (parcel selection, literally) – and that only ever comes from vines they own.  Fortunately, perhaps, the grower behind the 120-year-old País vineyard was looking to sell, faced with its economic unsustainability and developers queuing up for the land. The duo managed to purchase five hectares, including the two that had already been grafted to Cabernet Sauvignon, saving the centenarian vines from being ripped out of the ground. They grafted over the three remaining hectares to Cabernet Sauvignon in 2023 (with the fruit set to be used from the 2025 vintage). This site is now the source for their single-parcel Los Padrinos (meaning “the godparents”).  There are swathes of ancient vines like this, all at risk of being torn out for more profitable options. And it’s easy to see why, these old bush vines are beautiful – but yield tiny volumes. Baettig gets a mere two tons per hectare – “in a good year”, he’s quick to clarify. They’re dry-farmed – something that is rare in Chile’s dry climate, but made feasible by the high average rainfall in the Maule (between 500 and 700mm per year, although 2023 brought 1,000mm – welcome sustenance for Baettig’s just-grafted plantings). There’s no way of mechanising such old vines so all the work has to be done by hand – and Baettig’s plots see little more than sulphur and other organic treatments. If like most growers in the area, you’re only able to sell your fruit to the local co-op for cheap box wine, it’s easy to see why such efforts simply don’t make financial sense.  Alongside these parcels of old vines, there are vast, younger vineyards belonging to the likes of Concha y Toro and Santa Rita, yielding up to seven times as much fruit as their gnarly neighbours. Land here remains significantly cheaper than the more famous Maipo, Aconcagua or Colchagua (hence its appeal to the country’s biggest players) – but it’s the region’s distinct style of Cabernet that drew the Baettig team here.  For Baettig, towards the coastal range you find a totally different microclimate, producing wines of impressive tension and bright acidity. With the old País roots, the vines reach deep into the soil and produce limited yields of concentrated berries. The tannins have a particular imprint, less polished than those of Maipo, and given the fruit’s natural concentration and structure, it’s important to manage extraction carefully – with cooler temperatures, shorter maceration times and reduced pump-overs. Quite simply, Baettig says, they are “wines that you can age”. Fresh and verging on austere in youth, it’s easy to see the potential – and Baettig suggests the Compadres should age a good decade, while Los Padrinos will continue evolving far beyond that.   Baettig has already made waves with its Pinot Noir and Chardonnay, and – given the nature of these special vineyards – their Cabernet Sauvignon is guaranteed to do the same. But it’s not just the quality here that will make a difference. These sprawling plants, knotted, thick-trunked and twisted, have survived in spite of the economics. Having such a prestigious name invest in the Maule and its wealth of centenarian bush vines will help guarantee that this viticultural heritage isn’t lost for good.  Explore the full range from Baettig, including the first vintages of their Cabernet Sauvignon 

Baettig has pioneered Pinot Noir and Chardonnay from Malleco – but now they’ve released their first Cabernet Sauvignon. Sophie Thorpe caught up with Francisco Baettig to find out more about the project 

From Malleco to Maule: as Chile’s Baettig releases their first Cabernet Sauvignon wine, we caught up with winemaker Francisco Baettig to find out more

Discovering Baettig’s Maule Cabernet Sauvignon

The Maule mission: Baettig’s new Cabernet Sauvignon

“Meet my girlfriends,” calls Telmo Rodríguez down the phone, laughing as he flips his camera to show two enormous shaggy-haired mutts. The skies are crisp and blue on the other side of the screen, the sun beating down on Remelluri, his family estate in Rioja Alavesa. The camera swings across the horizon as he introduces me to one of his team before rushing indoors to sit down for our call. There’s an almost frenetic energy to Rodríguez – and that energy is what in many ways defines the maverick winemaker, who has been one of the transformational forces in Spanish wine.  His parents purchased La Granja Nuestra Señora de Remelluri – a farm that has been home to vines since at least the 14th century – in 1967. Growing up on this special property, young Rodríguez went off to study winemaking in Bordeaux, then trained at properties including Cos d’Estournel, Domaine de Trévallon, Chave and more. He returned home inspired and excited to use his new-found knowledge on the family property in the early 1990s. But his father didn’t welcome Telmo’s ambition: the market didn’t want great or even good Rioja, he told his son – the market wanted cheap Rioja. Although he wasn’t allowed to make changes to the red, Rodríguez was given free rein to create the property’s first white wine. And that wine rocketed him to fame. White Rioja has always been niche (today just 9% of the vineyard area is planted to white grapes), but in the 1990s its future was looking uncertain – with the traditional, oxidised style of wines such as López de Heredia’s Tondonia Blanco fallen from grace, and many producers had given up on making these wines (as with CVNE’s Monopole Clásico, which has since been revived). Rodríguez wanted to create a wine of place, rather than a wine of style, and used complex field blends planted at higher altitudes to do so. Fermented and aged in a combination of tank and oak, Remelluri Blanco was unlike any other wine in the region. Robert Parker wrote of the 1996 vintage that it was “the finest white wine [he had] ever tasted from Spain”. The multi-variety blend doesn’t include the region’s trademark white, Viura, and is technically illegal – a fact that perhaps has only increased its appeal.  But Rodríguez was frustrated by his father, by the limitations put on him and his wines. Restless and with a rift in the family forming, he flew the coop to focus on his own project. In Bordeaux he had become friends with a fellow Spaniard, Pablo Eguzkiza, who had been working at Pétrus, and together they had already started making wine – beginning with an old-vine Garnacha from Navarra in 1994. With that wine, Compañía de Vinos Telmo Rodríguez was born.  Their vision was to make real Spanish wine – the wines that had been made before, as they saw it, France started to sway the industry. When the deadly louse phylloxera had swept through France in the late 19th century, killing its vineyards, the nation looked south, across the Pyrenees to Spain. Producers travelled there to make wine and feed demand, and Rioja in particular saw an influx of business and money – but this uplift also came with French influence. In Rodríguez’s view, this was the ruining of the trade – Rioja, which had once been a wine of site, became a wine of oak. And soon, across Spain, the variety that once defined its many regions was being over-written with international varieties. Spain became known for cheap wine – and producers were racing to the bottom.  “The worst are the British,” says Rodríguez. “They say they know Rioja and they know Sherry, but, in a certain way, the British market killed Sherry and killed Rioja because they are very happy to have a cheap Reserva for a few pounds.” The dominance of what he describes as “industrial brands”, the larger houses that buy in fruit from across the region, aged in American oak for “traditional” styles, and French for “modern”, is abhorrent to him.  “I’m sorry, you don’t know anything about Rioja. Tell me one village. Tell me one taste. Tell me one landscape. Tell me one mountain. Nobody knew anything,” he says. He explains how Labastida – a village neighbouring Remelluri – was once the Vosne-Romanée of Rioja, home to 330 different wine producers in 1680. But over the years, that history has been blended away.  Together, Rodríguez and Eguzkiza set out to uncover and reveal the Spain of yesteryear, working with old vines, native varieties and traditional methods to champion what they saw as the true Spanish wines. From their beginnings in Navarra, they looked to Arribes del Duero, to Rueda, to Málaga, to Aragon and back to Rioja, then Ribera, Toro and Sierra de Gredos.   “Now we are showing what is real,” Rodríguez tells me, with a sense of satisfaction. In Rioja, for example, they created Bodegas Lanzaga in 1998, looking to focus on the terroir around the town of Lanziego. The Consejo (regulatory body), however, didn’t allow them to use the name of a village on the label until 2017. For almost two decades they protested this rule, featuring the name on the label, but redacted (inspired in part by the art of Jenny Holzer). Today, there is a clear, and growing, movement of producers looking to focus on single-site expressions of Rioja’s best vineyards, shifting away from cross-regional blends and the dominance of oak. This echoes what is happening elsewhere in Spain, as producers focus on indigenous grapes and identifying what makes each of its varied regions unique. It’s a revolution – one that Rodríguez has been at the forefront of. It's easy to think of this rockstar duo as flying winemakers – having so many projects scattered around the country, only touching down briefly to sign off on blends before they’re off to their next event. While inevitably their schedule is intense, their focus is firmly in the vineyard and on reflecting each individual place and site – rather than crafting a range that speaks of their influence. “It’s a very honest approach to a place,” Rodríguez says. The references throughout our conversation only emphasise this: Burgundy, the ultimate “terroir” wine, is where he finds his inspiration; while the Super Tuscans are repeatedly scorned for their internationality.  Matallana is quite possibly Telmo Rodríguez’s most ambitious project to date. He and Eguzkiza first made wine in Ribera del Duero in 1998, and have slowly built up 21.5 hectares of vines around the region.  “My dream was to do a very good Vega Sicilia. I wanted to do the Vega Sicilia that I used to drink in the past,” explains Rodríguez, talking about bottles from the 1940s, ’50s or ’60s. Back then, he says, it wasn’t an estate wine but fruit was sourced from around the region. For him, Vega Sicilia is now too “Bordeaux-style”. He argues that while in Rioja the soils are quite consistent, Ribera del Duero is incredibly varied. They have chosen to work with a range of vineyards across five villages – Sotillo de la Ribera, Roa, Fuentecén, Fuentemolinos and Pardilla – ranging from quartz-rich or pebbly soils reminiscent of Châteauneuf-du-Pape to chalky albariza and clay-heavy sites. This diversity is what helps bring complexity to the wine, with each one producing a different expression of Tinto Fino.   The work involved in each of the Compañía de Vinos Telmo Rodríguez projects is painstaking, tracking down special parcels, reviving soils and replanting or grafting where necessary, working organically and biodynamically, to achieve the quality they’re looking for. For Bodegas Lanzaga, for example, it was over a decade before they produced the first vintage of their top wine, Las Beatas, from a 1.9-hectare plot of the same name (first made in 2011).  For Matallana, they wanted to track down the region’s very best, historic vineyards in each of the five villages. But it’s not been easy. All too often they’d been abandoned, some needed re-planting entirely, or otherwise re-grafting with massal selections, and serious work to bring the soils back to life. They wanted to work with unirrigated bush-vines and field blends – vineyards farmed as they might have been in the 19th century. And then there’s the complex ownership: to buy just six of their 21.5 hectares took seven years, purchasing tiny plots from 40 different families.  Although they’ve been making wine here since the 1999 vintage, it wasn’t ready until relatively recently – and Rodríguez considers the 2014 the first “real” vintage of the project. Before that point they had made three wines, a selection of fruit from the oldest vines that went into the “Grand Vin” Matallana, a second wine M2 and the unoaked Gazur from younger plots. “They were prototypes, we were learning,” explains Rodríguez. From 2014, there is only one wine, with a change in the label to reflect the shift.  As with the older vintages from Bodegas Lanzaga, the label shows a list of redacted vineyard names – which are still not permitted to feature on the labels in Ribera del Duero. “All those vineyards are the guarantee of the purity of our wines,” says Rodríguez. In fact, the label is embossed, so beneath the censored text, you can feel the names of these terroirs. He’s moved to reduce the oak, using some foudres and tinajas (amphorae), while also acknowledging that the wine needs movement and oxygen to polymerise the tannins. The result, however, is a more delicate wine. At the end of the day, he says, “We don’t care about the winery… our wine is the landscape, is the soils.” The difference between the “new” and “old” Matallana is striking. The 2020 is pure, vibrant – a mineral wine with crystalline fruit that speaks of place.  “I don’t want to be pretentious, but we want to create another iconic wine from Ribera del Duero,” says Rodríguez. There’s no shortage of ambition here – and they’re looking to increase production to around 40,000 bottles a year (up from around 25,000 currently). “It took us 25 years… but we knew we were doing something rare, different.” The latest move has been to partner with Jean-Guillaume Prats (currently of Ch. Léoville Las Cases, previously of Ch. Lafite Rothschild and Cos d’Estournel), and start distributing the wine via La Place de Bordeaux, to bring the wine to an even bigger audience.  Rodríguez is now 61 – but there’s no sign of him slowing down. “People say that I’m too old to plant vineyards,” he says, clearly finding such a thought absurd. He’s just planting three hectares he tells me – vineyards that will be amazing, he feels, maybe in 15 years’ time. On the day we talk, he had five local youths coming to meet his team, the children of local viticulturalists in Labastida; they’d be making wines together with the best 2,000 kilos from each of their family’s plots – a project that has been going four years. There’s no looking back from this vigneron, whose eyes are firmly on the horizon, as he continues to push boundaries and forge a future for those that will follow him.  Explore all wines from Telmo Rodríguez and Matallana or read more Editorial 

Telmo Rodríguez is one of Spain’s most famous names. Since the 1990s, he has been a controversial figure, fighting for the nation’s vinous heritage. We caught up with the relentless revolutionary to talk about his journey, the real Rioja and his most challenging project to date

Telmo Rodríguez is one of Spain’s most famous winemakers. We caught up with him to talk his journey and his most challenging project to date, Matallana

Telmo Rodriguez – the eternal battle

Telmo Rodríguez: the eternal battle

The Macallan has become the most collectable Scotch whisky in the world. It consistently surpasses its own records at auctions and is known the world over as a luxury brand – even by those who know have little-to-no interest in whisky. The Macallan has come an awfully long way in its 200-year history. From its humble beginnings as two stills in a wooden outbuilding, the Speyside distillery has continually grown in size and prestige. Today, the Scottish whisky-maker calls a stunning £140 million state-of-the-art distillery home and continues to release remarkable long-aged whiskies from its vast stocks. This steady supply of exceptional single malts and rare bottlings, including its fabled #263 cask filled in 1926, has secured its reputation as a collectors’ must-have. But just how has The Macallan become such a tour de force and what should you know if you’re looking to add a bottle to your whisky collection? The history of The Macallan Based in Craigellachie in the Highlands, The Macallan distillery was founded in 1824 by farmer Alexander Reid and became one of the few licensed distilleries following the Excise Act of 1923. In 1868, James Stuart took over the distillery and rebuilt it. Stuart ran the site until 1892, when Roderick Kemp, a distilling giant who previously owned the Talisker distillery, took over and led the distillery to success. Kemp’s ancestors managed The Macallan for over a century, greatly expanding the distillery – increasing the number of stills from six to 21 between 1965 and 1975. In 1986, Suntory bought out a quarter of the stocks, with Highland Distillers buying out the rest in 1994. The distillery changed hands again in 1999, when Edrington took control. The Macallan has been largely responsible for the company’s unprecedented growth. Macallan’s reputation was built on the use of Sherry casks. Indeed, until 2004 it used exclusively Sherry casks, but then introduced the Fine Oak series, which was aged in ex-Bourbon and Sherry casks. The Macallan cask programme Today, The Macallan invests more per cask than any other distillery in sourcing, crafting, seasoning and caring for its casks – all under the watchful eye of Master of Wood, Stuart MacPherson. The entire process of creating a Macallan Sherry-seasoned oak cask takes approximately six years. Today, European and American oak are both used. Once felled at the optimum age (100 years for European and 70 years for American oak), the trees are left to air-dry for at least one year before they are cut into staves and transported to Jerez de la Frontera, Spain, where they are air-dried for a further 12 months, then coopered, toasted and Sherry-seasoned. All The Macallan whiskies are natural in colour – with nothing added and the only colour imparted by the long maturation in barrel. The curiously small stills  The Macallan boasts some of the smallest stills in Speyside. At just shy of 13 feet in height, the small and squat shape of the stills enables maximum copper contact and little-to-no reflux, resulting in the characteristically rich, fruity and oily new-make Macallan spirit. The 24 stills are also run incredibly slowly – at a trickle – and Macallan only takes 16% of the final spirit from the stills to fill its casks. When the new £140 million distillery was built in 2018, The Macallan commissioned the famous coppersmith company Forsyths to faithfully replicate the existing stills, down to the last dent. The 24 stills are designed to be exact replicas and the distillery maintains the new spirit will be unchanged. Kirsteen Campbell became the first female Master Whisky Maker in The Macallan’s near 200-year history in 2019. Campbell is squarely responsible for maintaining The Macallan’s distillery character and deciding which whiskies to pull from the archives. She was instrumental in the record-breaking Red Collection – a six-whisky set of superlative single malts, including two of the oldest released by the distillery. Campbell and her team are always looking at future-proofing the distillery, and run various barley trials. Currently, The Macallan uses Concerto barley and its own exclusive strain called Momentum that is grown on the estate and in other parts of Scotland and the north of England. The new £140 million distillery  Inspired by the great wineries across the globe, the Edrington team set out to build a distillery unlike any other in 2011. The project, led by Rogers Stirk Harbour + Partners – the architects responsible for Heathrow Terminal 5 and the Leadenhall Tower, or Cheesegrater, as it has become known – took seven years from idea to launch. It involved up to 400 people specialising in more than 20 different trades and cost £140 million. The result is an architectural marvel and has increased The Macallan’s distilling capacity from 11 million to 15 million litres a year. Easter Elchies House, located on the 485-acre Speyside estate, is still the spiritual home of the brand. At present, the old Macallan distillery, complete with its original 21 stills, has been mothballed but rumours swirl that it might resume production in the not-too-distant future. The Macallan and 007  The Speyside single malt has featured in two James Bond films. It first appeared – very heavily – in the 2012 Skyfall when M and Bond are both seen drinking Macallan. There is also the memorable scene between Javier Bardem’s Silva and Daniel Craig’s Bond when The Macallan 50 Year Old (the 1962 Fine & Rare) gets an extended amount of airtime, balanced in a shot glass on Sévérine’s head. A bottle signed by Bardem and Craig was later sold at auction, raising £9,635 for charity. The Macallan 18 Year Old makes a more understated appearance in the 2015 Spectre, on a table in James Bond’s apartment. The Macallan range The Macallan produces an extensive permanent range of whiskies, which include Sherry Oak (ranging from 12 to 40 years old), Triple Cask Matured (a trinity of whiskies aged 12, 15 and 18 years in European and American Sherry-seasoned casks), Rare Cask (single malts from the distillery’s library of Sherry-seasoned casks), the Masters Decanter Series (including M, M Black, Reflexion and No 6) and the Fine & Rare Collection. Limited releases (Edition, Anecdotes of Ages, Tales of The Macallan) The Macallan is arguably best known for its limited releases. These are one-off bottlings, often collaborations with artists and experts in their fields, and whiskies that are inspired by various stages in the distillery’s 200-year-history. Some of the most interesting limited releases include the 13-bottle Anecdotes of Ages collection. Each bottle of 1967 single malt features imagery of The Macallan Estate, created by British pop artist Sir Peter Blake and photographed by Mary McCartney. Only 322 bottles are available worldwide. The Archival Series is also worth highlighting. First released in 2015, with Folio 1, the series includes 24 individual bottlings that commemorate the distillery’s iconic advertising campaigns from the 1970s to 1990s. Today, a single Folio bottle can fetch upwards of £1,500. The Macallan has unveiled two highly anticipated limited releases over the past two years: the sixth and final Edition, and the first Tales of The Macallan. Prices for the complete Edition series (1-6), and individual Edition bottlings, have been steadily rising. The forecasted price for one of the 350 Lalique-designed Macallan Volume I decanters is £60,000. The Macallan also releases more experimental limited releases, like the Harmony Collection and A Night on Earth. The first Harmony Collection, unveiled in 2021, was the Rich Cacao expression, combining two of life’s pleasures: Sherry-matured whisky and chocolate. The same year, the distillery released its first A Night on Earth whisky, honouring Scotland and its legendary Hogmanay festivities. The seasonal release features illustrations from Japanese-French artist Erica Dorn. Cask #263 Without doubt, the most coveted bottles from The Macallan come from one hallowed cask: #263. The Sherry-seasoned cask, filled in 1926, slumbered for six decades until the precious liquid was filled into a mere 40 bottles in 1986. Of these, 12 were filled into bottles designed by pop artist Peter Blake and 12 were bottled in labels designed by Italian artist Valerio Adami; two were auctioned in blank bottles – one of which was later hand-painted by Irish artist Michael Dillion; and 14 were sold as part of The Macallan’s Fine & Rare Collection. Sporadically, and to great furore, these bottles have appeared at auction. One of the Blake bottles sold for £6,375 in 1991, an Adami fetched almost double that five years later, and another went under the hammer for $75,000 in the late 2000s. After this, things went quiet and speculation about the whereabouts of the bottles was rife – until a bottle of Blake and Adami sold for $1.2m in 2018. Unsurprisingly, this set in motion a veritable maelstrom of activity, and nine bottles have since changed hands. The Fine & Rare Collection The Macallan first launched the Fine & Rare Collection back in 2002, with a modest 37 different expressions. In the years that have followed, this collection has swelled to 57 different vintage bottlings from eight decades in the distillery’s history – making it the largest vintage-dated single malt collection in the world. The oldest bottling in the impressively vast Fine & Rare Collection is from the legendary 1926 vintage. The Macallan Red Collection The Macallan Red Collection is widely seen as the pinnacle of the distillery’s portfolio. Three of the six single malts are the oldest whiskies ever released by The Macallan – or any Scotch whisky distillery, for that matter. The entire collection – named after a colour that has a long association with The Macallan – is aged in Sherry-seasoned casks. The three oldest ongoing expressions (40 Year Old, 50 Year Old and 60 Year Old) join the three guest releases, which are the oldest in the distillery’s history (71 Year Old, 74 Year Old and 78 Year Old). Occasionally a lone bottle or an incomplete set of The Macallan Red Collection becomes available, but to find all six bottles is truly rare and exciting. Collaboration with Lalique on the Six Pillars Collection Over the course of one decade, The Macallan partnered with acclaimed French crystal maker Lalique on some truly memorable and collectable whiskies. In 2016, the Six Pillars set drew to a magnificent close with The Macallan in Lalique 65 Years Old . Only 450 individually numbered bottles were released worldwide. The first release in the collection, which began in 2005, was the 50 Year Old, followed by the 55 Year Old (in 2007), 57 Year Old (in 2009), 60 Year Old (in 2011) and 62 Year Old (in 2014). In 2019, four bottles from The Macallan Six Pillars Collection sold for £296,500. Browse The Macallan whiskies or read more Editorial 

The Macallan’s reputation is unparalleled. It is the most coveted and collectable Scotch whisky and a luxury brand in its own right. We explore the distillery’s rise and the bottlings that continue to secure its place at the pinnacle of collectability

The Macallan’s reputation is unparalleled - the most coveted Scotch whisky. We explore the distillery’s rise & the bottlings at the pinnacle of collectability

Everything you need to know about The Macallan

Looking across the dramatic slopes of the Douro Valley, it’s easy to imagine that time has stood still here. While Port is steeped in tradition, however, recent decades have seen it leap into the modern era – with no shortage of diverging opinions about the “right” way to produce Port. Just put a handful of the region’s finest in a room and ask about co-planted or monovarietal vineyards, granite or stainless steel, de-stemmed or whole-bunch fruit, trodden by foot or machine, and feel the temperature rise as the debate unfurls.  There is, however, one element that gets surprisingly little press – the all-important fortification, an element that arguably defines Port, and until relatively recently was out of winemakers’ control. Originally spirit was added to harden the wines for long journeys in ships’ bows, preparing them for long voyages, and only became standard in the 19th century.   Once the fruit has been picked, trodden and starts fermenting, producers add spirit – or aguardente, often colloquially (and erroneously) referred to as “brandy” – to halt fermentation, thereby retaining the natural grape sugars that give Port its signature sweetness. The wine is a mere 5-6% alcohol at this stage, and the fortification brings it up to between 19 and 22%. Given the strength that the wine needs to reach, this spirit represents a massive 20% of the final product. Legally, aguardente must be a grape spirit of 77% – significantly lower in strength than the spirits used for other fortified wines (such as Madeira or Vins Doux Naturels, which use a highly rectified grape spirit of 95-96%). This lower alcoholic strength is key; meaning the spirit is less neutral, and therefore has even more of an impact on the final wine.  This spirit has a rocky history which isn’t free from scandal. After a local shortage, 1904 became known as the “Schnapps vintage” – having been fortified largely with a German spirit made from potato and grain. The 1972, ’73 and ’74 vintages saw industrial alcohol used instead of grape distillate. (Responsibility for this latter fraud fell to a French supplier who duped the unknowing Casa do Douro into buying Yugoslavian spirit.) Besides these occasional lapses, the spirit was mainly made from excess wine in the Douro during 19th and early 20th century, but in 1907 the Portuguese Prime Minister João Franco banned the distillation of wine from the Douro, meaning aguardente had to be found elsewhere. Despite presenting 20% of the wine, the spirit used today is far from local, sourced from far beyond Portuguese borders (often Spain and France).  The key date – however – is 1991. Under the authoritarian Estado Novo regime in the early 1930s, a monopoly on the spirit was established, with its supply state-controlled. This continued for over half a century, via the Casa do Douro, and then from 1976 via the Instituto do Vinho do Porto e Douro or IVDP. The freedom to choose which spirit used was only granted to shippers in 1991 – something that David Guimaraens (Head Winemaker at Taylor Fladgate) argues is one of the most significant changes in Port.  “We had no choice, the spirit quality was very average,” Guimaraens laments of the old days. He returned to Portugal, fresh from studying at Australia’s leading winemaking school Roseworthy, in 1990 – just before the shippers gained the freedom to choose their own spirit. “When you use a very clean, fine spirit, when it is young, your fruitiness comes out much more – making it more appealing in youth, almost entirely because of the quality of the spirit,” he explains. He cites two examples – Taylor’s Vargellas Vinha Velha and Croft’s Sērikos – both wines which are made from 100-year-old vineyards, made as they always have been in granite lagares. It is, he argues, only the spirit that has changed in these Ports.   For Guimaraens, the quality of spirit is most apparent in a vintage Port’s “teenage” phase – between 14 and 19 years of age, when it is starting to lose its fruit but not yet fully developed bottle maturity. This transitional phase is, in his view “much more attractive than it used to be in the past”, meaning Port drinkers are safer opening a bottle at any stage of its life. He points to 2000 as a pivotal vintage, when the quality of spirit started to really improve and produce, in his view, some of the region’s finest wines.  “Spirit has been crucial,” Richard Mayson – writer and author specializing in the wines of Portugal – agrees. “When vinification techniques were experimental – the late 1960s, ‘70s and ‘80s – you can certainly taste the poor quality spirit in the thinner-quality wines.” He explains that this period saw massive emigration and a resulting shortage of feet to tread the region’s harvests. The early autovinifiers used in lieu of the traditional foot-treading simply didn’t result in the same level of extraction – and therefore have, over time, revealed the underlying spirit quality. There are, of course, exceptions – with some great wines made. He, however, like Guimaraens, feels the 2000 vintage marked a real shift in the class of spirit used.  The uptick in the quality of spirit is one of the reasons – along with the quality of the fruit, viticulture and more – that Carlos Agrellos of Quinta do Noval feels the property has been able to declare every vintage since 2011. “It’s extremely important to choose the right one,” Carlos Agrellos of Quinta do Noval explains of the spirit. He is one of a group of 20 companies – including Niepoort – who have, over the past five years, clubbed together to buy spirit. As smaller operatives, grouping together gives them more clout, enabling them to secure higher-quality spirit for their wines – and fair prices. Each May they meet in Gaia, tasting through a selection of spirits sent over by three or four different producers – all of which are scored blind. In 2020, they tasted 20 different spirits that were approved.   The results of the tasting are shared with everyone, then each company will decide which they wish to buy for their wines. The spirits come from southern France, Spain or Portugal. There are two categories of spirit –those distilled from wine and those from wine lees. The two are very different: the former is favoured by most – having more delicate, fruit and floral aromatics; while the latter was only approved for use in 2014, and is usually stronger in flavour. While in general “wine” spirits are generally the best, the spirits from lees can offer additional complexity. “At Noval,” Agrellos explains, “we tend to blend these two and use them for different types of wine, from white Port to Tawny to Vintage Ports.” There’s no fixed blend, and it varies from year to year, but he tends to use both – with higher-grade spirits for Vintage Ports.   Symington and Fladgate – the giants of the Port trade – purchase such large volumes that they buy their spirit independently. Tom Symington – fifth-generation family member and part of the winemaking team – explains that the spirit used to be a wider cut, and today it’s narrower, resulting in a purer spirit. “We focus on the neutrality, the aromas and the way it reacts with the wine,” he says.   Talking to producers about the style of spirit they look for, there is a general consensus that neutrality is desirable – to what extent, however, varies significantly. Agrellos aims for a more neutral, but slightly floral spirit. The most important thing for him, however, is the volume on the palate: he believes that it is this volume and texture of spirit that is most important for vintage Port. “It’s what will hold the wines for years to come,” he says. He values this above and beyond aromatics, while of course looking for something very pure. It’s this texture that leads him to use some wine-lees distillate – which has much more to offer in that regard, as well as its stronger flavour. The wine distillate by contrast tends to be purer in terms of aromatics, and is sometimes even double-distilled.  While Symington uses the same spirit across all their Ports, David Guimaraens looks to use a different style of spirit depending on the style of Port in question. He is clear, however, that it shouldn’t be part of the house style – but a “neutral oenological product”. He chooses to use one batch of spirit across each style for all the houses, not wanting it to be a differentiating factor, or dominate the quality of the fruit. For example, the spirit used for his vintage wines costs twice as much as that for the most entry-level wines – “And you get your return,” he notes.  He blends his own “master spirit”, combining batches sourced mostly from Portugal and France. “In the early days, it wasn’t as simple as using a clean spirit. To get spirit we wanted, we had to get the wines fermented in a particular way,” Guimaraens explains. With an overly neutral spirit, you risk ending up with a lighter Port; but too high a component of higher alcohol and it interferes with the wine’s organoleptic character, subduing the fruit. Too many spirits are made with excess bulk wine – rather than wine that has been fermented with the express purpose of producing spirit.  Dirk Niepoort favours quality and a little bit of character. “The purest, the best, the most harmonious – but not necessarily the most neutral one” is what he looks for, he explains. At the group tastings, his tastes are reportedly well known, with many of his colleagues able to identify the aguardente he will choose. His preferred spirits are finer, lighter, with more precision, but – importantly – also character. He finds that they tend to come from France, often from Cognac, from vineyards specifically planted with the idea of producing a distillate – not just excess wine. “Our grapes are too good for distillation,” Niepoort explains – the best spirits, in his view, are made with grapes from cool climates, with high yields and high acidity. He normally chooses three different spirits, depending on availability and price, with the very best spirit reserved for his top wines. For any organic wines, of course, they require an organic distillate.   While Niepoort admits the quality of spirit has improved, he doesn’t believe that the quality was nearly as bad as some – such as Guimaraens – imply, telling me people are unnecessarily “ferocious” about it. “I think the Port Wine Institute did a fantastic job in selecting huge amounts of spirit. Considering the huge quantity needed, the average quality was extremely high.” It certainly isn’t stopping him drinking fine vintage Ports – such as a bottle of 1963 Noval he had the pleasure of uncorking recently. Nevertheless, he doesn’t deny that it was a significant step not having to buy a mass product, and it has really opened the market.  It’s not as simple as winemakers having total autonomy, however, with a strict approval system via the IVDP to ensure the quality of spirit being used meets their standards. “It’s not only complicated – it’s expensive,” Niepoort says of the process. He’s found it a struggle to get some spirits approved, with, for example, double-distilled spirits harder to get sign-off than column-distilled liquids – a clear source of frustration. While the process is clearly there to control quality, producers aren’t abusing this independence; in general they are spending more money than ever before – making the whole thing, in Niepoort’s view, futile. “We should have some freedom to do what we want,” he says.  Tom Symington feels that it’s more than just the quality of spirit that has improved the quality of Port. He believes other developments have been more significant, particularly emphasising advancements in winemaking (highlighting the introduction of stainless steel as well as robotic lagares) and viticulture, especially monovarietal vineyards which – he considers – allow them to achieve perfect phenolic ripeness, with no green or raisined fruit. It is more than just the equipment, he notes – it’s the know-how gained over time, and most importantly balancing that with tradition.  “Of course the modern young people will tell you that viticulture is much better today,” says Niepoort dismissively. He prefers to work with old-fashioned growers. Over 90% of his vineyards are over 60 years in age and traditional field blends. He feels that the shift to monovarietal vineyards – dedicated only to five of the region’s many indigenous varieties – is, along with a move toward de-stemmed fruit rather than foot-trodden whole bunches, responsible for changing the style of Port. “The wines became fruitier and darker, but at the same time, thinner,” he explains. Niepoort historically didn’t make any Port themselves, and the 1994 vintage was the first they produced in-house. For him, this shift – from the 1970s and ‘80s – for shippers to own vineyards, rather than merely buying wine in, is the greatest advancement in the region.  The Douro Valley has seen a run of top-rated vintages – with universal declarations in 2011, 2016 and 2017, and some shippers declaring 2018 and now 2019 (including Niepoort). The general rule of three declarations per decade looks set to become a thing of the past. How much can this be attributed to aguardente? Relatively little, perhaps, however it’s hard to argue that this liquid – making up a fifth of the final wine – doesn’t have a role – and depending on who you talk to, the heart – to producing the very best Port.   Read more Editorial or browse our range of Port

Port is much more than just wine. “Brandy” or aguardente makes up 20% of every bottle – and some argue that a shift in the quality of this spirit is key to the wines’ superiority in the last 20 years. Sophie Thorpe finds out more about the firewater that defines the Douro’s age-old fortified wines 

Exploring the firewater – “Brandy” or aguardente that makes up 20% of every bottle – which defines the Douro’s age-old fortified Port wines.

Aguardente vinica and its role in Port winemaking

A spirited debate: the tale of Port’s 20%

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