From humble beginnings in Beaujolais in the 1980s, the natural wine movement has become a global force. But what influence has it had just north in Burgundy’s long-established, terroir-focused appellations? Simon J Woolf explores the blurred line between classical and natural winegrowing

From Beaujolais to Burgundy, how has the natural wine movement shaped a terroir-driven region? For FONDATA Simon J Woolf explores the changing landscape.

Natural Wine’s Influence on Burgundy

Nature vs. Nurture: The quest for Burgundy’s true identity

There’s little Graham Eunson hasn’t seen in his 30 years in the Scotch whisky industry. From pushing barrels at Scapa straight out of school to managing one of the biggest names, the Orcadian has worked in almost every production role at five Highland distilleries. Over the course of his career, the Tomatin Distillery Operations Director has been at the painful end of two consolidations and led the revival of a distillery lost for 22 years. For the past decade, he has had to pool all this knowledge and experience to bring a distillery that was once famed for mass production to single malt prominence. “I always say it’s the most fun I’ve had in the whisky industry,” he declares with a chuckle, “and I’ve loved every single one of the distilleries I’ve worked at.” Eunson talks with such fondness about the industry and all his colleagues that it’s easy to see why both his children have followed him into the profession. He refers to his route into the industry and progression through the ranks from mashman to stillman to brewer as the “old-fashioned way”. When Allied Distillers closed his first distillery during the 1990s whisky loch, Eunson faced a tough decision: leave his beloved Orkney or wave goodbye to a fledgling career he absolutely adored. His homeland lost that tug of war and Eunson moved his wife and one-year-old son to Aberdeenshire and Glendronach Distillery until that also closed its doors. Glenmorangie became Eunson’s third Highland distillery where he worked as Assistant Manager to Dr Bill Lumsden for two years before Head Office beckoned and he took over as Distillery Manager. After a decade in the role, the chance to reopen a ghosted distillery lured Eunson away. “My wife would argue I don’t have a romantic side to me at all, which is probably true, but when it comes to whisky I do – and the opportunity to re-open the distillery after such a length of closure was too much to resist.” On April Fool’s Day 2008, Eunson stood on the balcony in the Glenglassaugh still house looking at the rusted pipework where sections had been pilfered by thieves and seriously questioned if he’d made the right decision to leave the breathtakingly beautiful, not to mention functioning, Glenmorangie. “But I have to say, the sense of achievement on the day we first mashed in again, after about eight months of struggling to try and design everything to get it to work better… the sense of achievement was fantastic,” he says with real pride all these years later. The next call, to take on a newly created General Manager role at a distillery that was once the largest in Scotland and had fallen out of favour, came in 2011. If he accepted, Eunson would look after everything from the malt coming in, to the distillation, maturation and recipes for all the whiskies. “They sold it well to me,” he says with a wry smile. “Basically, the buck stops for everything with me.” Two years ago, Eunson was asked to choose his new title. After some thought, he suggested General Operations Director – “So GOD,” he laughs; in the end he had to settle for “DOD” – Distillery Operations Director. The beauty of working at Tomatin, according to Eunson, is that he and the 62-strong team are masters of their own destiny. “We have gone from being a distillery which made lots and lots of spirit to go into other peoples’ whiskies. To the complete opposite way round percentage wise,” Eunson says. In the 1970s, Tomatin produced 12.5 million litres of pure alcohol a year making it the largest in Scotland. Today, the Highland distillery produces less than two million litres a year. Of this number, 1.1 million goes into Tomatin in its various forms, roughly 400,000 litres are swapped with other distilleries in exchange for whiskies for their Antiquary, Talisman, Big T, Ancient Clan and other blends, and 100,000 litres is sold for cash. Apart from malting and bottling, every stage of the traditional production – milling, mashing, fermenting, distilling, ageing and blending – takes place on the 140-acre site. “It’s great to be in control of all that ourselves,” Eunson says. “In the last 12 to 15 years, we have had a complete change of tact. We’ve reduced the volumes we’re making and it’s all about quality over quantity.” The gear shift is clearly working. Since its rebrand in 2015, sales have soared by 83% and visitor numbers to the distillery are topping 50,000 a year (in non-pandemic times). Tomatin produces a range of unpeated single malts from the entry-level (£30 a bottle) to the 50-year-old-plus (£10k+ per bottle). In their vast warehouses, the team is sitting on almost 200,000 casks and Eunson oversees it all. “It is one of the few jobs I would have thought in the world that you can do for 30 years and still look forward to going into work,” he says. “My job is wide and varied and never the same two days running.” In his latest project, and the first “serious launch” since the rebrand, Eunson has sourced rare Monbazillac, Sauternes and Rivesaltes barrels to finish three parcels of nine-year-old single malt. In typically self-deprecating fashion, Eunson says: “The stars aligned basically. We had released our Sherry-cask finished Cuatro and were looking at alternatives and these wine casks became available. When the cooperage told me about them, I asked them to hold the casks and got straight on Google.” The cask finishing trend has been one of the biggest changes Eunson has witnessed in his career. He says: “It used to be, ‘Well if it was a tree at some point in its life then you can use it for maturing whisky’, whereas now there is so much more care and attention put into it. “Some of the companies I have worked for… Allied, no longer exist, so I can say what I want about them. They had codes on their stock system for seven-fill and eight-fill casks. By the time you’ve filled it seven or eight times, there’s not a lot of flavour going to come from the wood.” While Eunson says he’d never say the cask is the most important part of the process, he is not shy in professing it is the most influential. “What a lot of companies are doing now, ourselves included, is look at the raw materials – different barley varieties, different types of malt, different yeasts, different lengths of fermentation times, different cut points in the stills – you can play around with all of that but it is still only going to arguably contribute 25 to 35% of the final flavours. Seventy to 75%, even 80%, will come from the time spent in the cask during maturation. “So that is where we have to put the attention to detail because it’s going to have such an impact going forward onto the final character of the whisky we produce.” Computerisation is another huge change in the industry. And not one Eunson thinks is strictly positive. “It’s a good thing in that if you’ve got a computer and sensors running the pumps, setting the temperatures and suchlike, there is less room for human error and you get more consistency of spirit. So you know what your new-make spirit is going to be like but at the same time, that human error can sometimes lead to exceptionally unusual whiskies. You become almost a generic whisky, so we need to be careful to keep the individual characteristics there.” The Tomatin Distillery is semi-automated. It is still up to the Stillmen to decide when to make the cut and how fast to run the stills by controlling the steam valves. Whether it’s technology or trends, Eunson says the one constant in the Scotch whisky industry is change. “We are always changing and trying to be innovative and look at different ways of doing things while still trying to stick to the traditions that have been there and the rules and regulations as well." The industry might constantly be evolving but Eunson says the people within it are far more permanent. “We have a Head Warehouseman who’s been working with us since he was 18 and he’s now 67. He has more or less done the same job in the same distillery for 50 years. He is showing absolutely no intention of retiring and he’s probably the fittest guy we have on site in reality.” And how about Eunson? “I can’t see myself retiring at 60,” he says. “There is way too much that I want to do in the industry to even consider that. I’d probably think about retiring at 65… or maybe 66,” he quickly adds. We’ll believe it when we see it. Browse all Tomatin listings or read more Editorial 

After three decades in the whisky industry Tomatin’s Graham Eunson is more energised than ever. He tells Holly Motion why his latest role is the best yet

Tomatin’s Distillery Operations Director on the pace, and people, that keep him in the industry after more than 30 years working at the coalface.

Tomatin’s Graham Eunson on a life in whisky

Graham Eunson: a life in whisky

The growing season in 2019, as is becoming the norm these days, started with a warm February and March, leading to an early budbreak at the beginning of April. An early budbreak leads to a nail-biting spring for the vignerons, where the window for frost damage is only extended. Fortunately, there were only a couple of occasions where temperatures dropped to dangerous levels, with most Chablis producers today well equipped either with smudge pots, electrical heating wires or water sprays to offset the frost damage.  At Long-Depaquit they lost just 5%, which was not a concern. Samuel Billaud notes that the frost was much more dangerous on the lower slopes of Chablis where damage was higher than the 1er Cru and Grand Cru sites which were largely undamaged. For Olivier Bailly, winemaker at Domaine Billaud Simon, it was not simply the direct damage of the frosts (particularly on the night of 14th April) but the resultant stress on the vine following the outbreak that saw yields further affected. However, the real issue in regard to yields, came down to flowering rather than frost, with a windy, rainy, wet period during May which meant yields were notably affected. This period led to a lot of heterogeneity in the bunches and also noticeable millerandage (which results in very small berries): this does not affect quality but markedly lowers yield. Unlike 2018, therefore, 2019 is a low-crop vintage with producers’ yields ranging from 20 to 40% below normal. Despite the poor flowering, the rest of the growing season was straightforward, with very little rain and plenty of sunshine, which meant excellent sanitary conditions in the vineyard with no rot at all and very little sorting required at picking. There were two short heatwaves, one at the end of June and another at the end of July, which did cause sunburn damage to exposed grapes but other than that, no sorting was required. Regarding temperatures and rainfall, it was similar to 2018 with average rainfalls down 50% on average. Temperatures were also a full 2.2 degrees above average during the growing season, which is quite extraordinary. When comparing the similar effects of drought and sunshine in the 2018 vintage, vignerons talked about how the high yields helped dilute the intensity of the sun. With half the crop, how did the grapes survive in 2019? Was this to be a low-acid vintage with abnormal tropical fruit tones like 2015 or 2003? Matthieu Mangenot, winemaker at Domaine Long-Depaquit, describes how something quite unusual happened. In the later part of the growing season, the grapes concentrated – with water in the berries evaporating from the skins. This increased sugar levels and therefore alcohol (typically to 13.4 to 13.8%, which is high for Chablis, but it concentrated the acid levels too. Despite the drought and heat, the acid levels sit close to great vintages such as 2008, 2014 and 2018, with a pH of 3.25 to 3.3 after malolactic fermentation. Olivier Bailly at Domaine Billaud Simon had even higher acidity levels (between 3.10 - 3.25 pH), stating, “It is the magic of Chablis to find Chardonnay retaining such acidity, despite the warm weather”.  The result is, as Mangenot told us, “undoubtedly a ripe, concentrated, powerful vintage, but with a freshness too, at the same time retaining real Chablis mineral typicity. It is a hot, warm vintage but it does not really behave like that in the glass.” The fruit ripeness is similar to ’15 – but there are no excess aromatics of over-ripeness or yellowness in the wine that is typical of the low-acid vintages like ’05 and ’06. The acid profile is much more like ’17, and very much still retaining a sense of place, avoiding the tropical fruit aromas of 2015. Samuel Billaud describes 2019 as “highly concentrated Chablis with sun-kissed aromatics – it is concentrated, with balanced structure and excellent minerality. It is a ‘gourmand’ [moreish] vintage, yet with tense, structural minerality.”  Our own impressions is there is no doubt a concentration and aromatic pungency to the wines, yet the nose retains the Chablis-esque chalky minerality and savoury dried-straw tone, as well as lifted floral aromatics. There is noticeable power, weight and warmth to the palate even on the Premiers Crus, with the top examples retaining mouth-watering acidity despite this opulence and concentration. They really have a wonderful combination of intensity and power, while retaining mineral typicity. Producers such as Samuel Billaud still has a majority of his 2019s undergoing élevage, with the Grands Crus left another six months in tank before being bottled. Despite them being babies the wines are already showing a lot of promise. Billaud compares his 2019s to the 2016s in terms of riper aromatics, but with much more concentration and minerality. It also has similarities to the 2017 vintage when it comes to structure and minerality, he says.  For Mangenot, the power and concentration allied with vibrant acidity and minerality makes this vintage hard to compare, “It doesn’t really taste like any other,” he says, “but for Chablis-lovers, it makes it a fascinating vintage to discover.” Read more Editorial

As the first Chablis 2019s are released, we talk to top producers in the region – including Samuel Billaud, Matthieu Mangenot from Domaine Long-Depaquit and Olivier Bailly from Domaine Billaud-Simon – about the vintage

We talk to top producers in the region Samuel Billaud, Domaine Long-Depaquit and Olivier Bailly from Domaine Billaud-Simon – about 2019 the vintage

2019 Chablis first look at the vintage

Chablis 2019: a first look at the vintage

Gaja’s wines from Barbaresco are undoubtedly some of the finest wines in the world, but their single vineyard wines from their Brunello di Montalcino estate – Pieve Santa Restituta –whilst a lot less well known, deserve equal attention, particularly with the release of their 2015s due out next week. 
It was a big decision for this Piedmont producer to invest in another region of Italy but Montalcino to Gaja seemed the logical choice. On our visit to the property last summer, Angelo Gaja explained to us the obvious parallels between Barolo/Barbaresco and Montalcino – both regions of prestige for fine wine, both made from indigenous varieties and from single varietals that undergo extensive élevage. These were enough for him to pursue a search for the right plot in Montalcino. 
Now after 20 vintages at the property and blessed with the fantastic climate conditions of 2015 – Gaja have produced arguably some of the finest Brunellos of the vintage.
The Pieve Santa Restituta Estate in the Tavernelle region of Montalcino has an amazing history. Named after its church situated in the middle of the estate, it is one of the four remaining churches still standing in Italy whose foundations date back to 400AD.  Of more contemporary relevance, the vineyards themselves neighbour Soldera’s Case Basse estate so there is no question the terroir here is of exceptional quality. For Gaja, the vineyards are in a particularly privileged position, facing south and south-west with an altitude ranging from 320 to 350 metres and characterised by an extremely windy, dry and bright microclimate. The windy site protects the vineyard from damp, alleviating disease pressure, whilst the altitude slows down the ripening allowing the grapes to gain flavour complexity with a long slow ripening process and retaining freshness. 
They produce just three wines from this estate and perhaps more interestingly no Rosso Di Montalcino or Brunello Di Montalcino Riserva. The three wines are a straight Brunello Di Montalcino (first produced in 2005) and two separate single vineyard cuvees: Rennina and Sugarille.  The Rennina is more accurately from three vineyard sites in the same vicinity with similar terroir, first vintage produced by Gaja in 1994. Rennina is characterised as a more tannic, earthy, structured Brunello with riper, preserved fruit character. The Sugarille, first produced by Gaja in 1995, is a single-vineyard site that is more delicate with heightened floral complexity and more approachable tannins but has great ageing potential. 
They don’t produce a Rosso believing that it would be a second-rate wine, which is not in keeping with the Gaja philosophy. Instead, they sell off any second-rate fruit in bulk. In a poor vintage, they don’t produce their single-vineyard wines at all. In 2014, 2012 and 2009 no Sugarille or Rennina were produced. They also never produce a Riserva because Angelo Gaja’s winemaking philosophy has always been to reduce rather than extend the ageing of the wine in barrel.  Ageing to Riserva levels, Gaja believe, means the wines lose their freshness and clarity. Coupled with warmer temperatures in the vineyard over the last 20 years, the effects of global warming have only further cemented this belief. Angelo's daughter Gaia Gaja also believes the higher temperatures produce riper fruit and more alcohol which, when aged extensively in oak, leads to more of the wood tannins infiltrating the wine.  For Gaja, over-extending the oak ageing of the wine is the reason they don’t produce a Brunello Riserva (typically aged an additional year in barrel). The property is very much focused on their single-vineyard sites of Rennina and Sugarille, each representing their top cuvees. 
The 2015 vintage 
Critics and winemakers alike have put the 2015 vintage on a par with the great 2010, sharing similar levels of opulence and voluptuousness on the palate. The 2015 vintage has produced some incredibly juicy yet vibrant wines. Wines with amazing voluptuousness backed with great acidity, fatness and freshness. This style, like 2010, is a real crowd-pleaser but with trends in the region backing away from over-ripeness and high-level extraction, the 2015s are arguably more elegant, with much more tension and finer tannins than the monolithic 2010s. 
Having extensively tasted the 2015s from Montalcino, the wines have a staggering richness, fleshiness, almost a creaminess that is rare to find in pure Sangiovese. At the same time, the fruit does not feel at all over-ripe, still retaining fresh fruit clarity alongside tannins that are fully resolved, yet providing a piquant bite and structure to the wines. These characteristics come through in spades with the single vineyard wines of Gaja’s Pieve Santa Restituta. 
The wines 
“Sugarille” Brunello di Montalcino
Getting to taste their 2015 single vineyard cuvee alongside the same single vineyard 2013s was a great insight into the two very different personalities of the two wines. I can’t help be drawn to the Sugarille with its seductive complex florality, it’s beautifully delineated fruit and seductive tannins. Whilst the 2013s are more “classic” with a wonderful mouth-watering acidity, elegant body and overriding finesse, the 2015s Sugarille is exceptional, it has added energy, contained power and an abundance of complex aromas (aniseed, dark chocolate, contrasting earthy hedgerow and floral lift). The Sugarille is totally defined by very fine tannin and is incredibly elegant for a Brunello. 
“Rennina” Brunello di Montalcino
Whilst the Sugarille may be more immediate, the Rennina has a brooding quality and power with more spice and structure that is equally impressive if a little more backward and austere. It certainly needs more time to further integrate but the slickness and fired/ scorched earth quality and sinewy textural qualities is equally beguiling. You can’t help but compare it with its Soldera neighbour and wonder if with further time in bottle it will be a worthy comparison. It is certainly brilliantly made, texturally sound and will age beautifully.  
They are some of the best examples from the vintage, both with distinct contrasting personalities. These 2015s are due to be released next week and are not to be missed. The combination of the winemaking prowess of the Gaja family, allied with a superb vintage in Brunello di Montalcino makes for some extraordinary wines. Explore more Editorial 


Now after 20 years of vintages at the property and blessed with the fantastic vintage conditions of 2015 – Gaja have produced arguably some of the finest Brunellos of the vintage.

Gaja has produced one of the finest Brunellos of the 2015 vintage from its single vineyard Pieve Santa Restituta. We investigate 

Exploring Gaja’s Pieve Santa Restituta

Exploring Gaja’s Brunello di Montalcino Pieve Santa Restituta

2020 Ch. Tour Saint-Christophe, Saint-Emilion  There is lovely restraint to Tour Saint-Christophe this year, only furthering this wine’s already huge appeal, considering the overall quality and moderate price point. High-quality oak provides a lovely toasted, peppery spice aroma on the nose that interplays beautifully with lifted, lavender tones. There is a lovely finesse to the blackcurrant and plum fruit on the palate. It is concentrated, juicy and succulent, but not at all over-ripe. The fruit has a pristine character matching the detailed tannins, making for a moreish finish. With impressive length and fantastic balance, this is a top-value buy – and has never been better. The blend is 80% Merlot and 20% Cabernet Franc.  2020 Ch. Laroque, Saint-Emilion  Quality at Ch. Laroque continues to rise and David Suire has crafted a superb 2020. Despite being a blend of 99% Merlot and 1% Cabernet Franc, this wine has real freshness and an herbaceous edge to it. The nose is scented and enticing with aromas of Darjeeling tea, ripe plummy fruit and a fresher more redcurrant note. It’s a tight little wine at present, with a compacted palate full of promise and fine-grained tannins. There’s a lovely iron-like earthiness and long, saline finish.  2020 Ch. Berliquet, Saint-Emilion  The overriding quality of 2020 Berliquet is its clarity and purity of fruit. Strawberry, redcurrant and blackberry fruit fills the palate, while a lifted florality on the nose is allied to darker, spice notes adds aromatic complexity. The tannins are fully resolved – silky, dense and well coated with the concentrated fruit and no drying elements. The wine is medium-bodied with excellent balancing acidity and while it doesn’t have the depth of neighbouring Ch. Canon, it does have a similarly elegant profile and freshness.  2020 Clos du Clocher, Pomerol  Clos du Clocher is a very expressive Pomerol in 2020, with crushed dried flowers and fresher violet aromas dominating the nose. It is already quite open on the palate with soft, juicy tannins. It is ripe, made in an opulent style, with black plum and classis fruit on the palate, as the violet tones continue to linger above. The fruit is pristine and the wine has an impressively long finish. It will no doubt be a top-value buy for the appellation and one to enjoy quite early.  2020 Ch. Lafon-Rochet, Saint-Estèphe  This is a swarthy Lafon-Rochet, full of dark bramble and blackcurrant fruit, with aromas of almost curried spice, cloves and violets. The palate has a gorgeously silken mouth-feel, seeming plush even at this youthful stage. There’s a real weight of fruit with a wave of freshness and the firm, present tannins – beautifully ripe and integrated. There’s a compact core to the wine – packed full of bramble fruit and salinity. There’s a pepper and floral freshness to balance a slightly chocolatey density to the finish. The blend is 61% Cabernet Sauvignon, 22% Merlot, 3% Cabernet Franc and 3% Petit Verdot.  2020 Ch. Duhart-Milon, Pauillac  Domaines Barons de Rothschild has made significant investment in a new winery for Ch. Duhart-Milon and, if the 2020 is anything to go by, it was worth the expense. The uplifting fragrant yet classic nose of vanilla, menthol, cassis and graphite minerality screams Pauillac. There is a lovely finesse to the tannins – detailed, very fine and matched by a lovely juiciness on the mid-palate. It is so much plusher than normal, but very Lafite-like in its restraint. There is mouth-watering acidity too. This is excellent, medium-bodied classic Bordeaux with a long finish. This really is a step up for the estate, with a new level of elegance to the palate.  2020 Ch. d’Armailhac, Pauillac  One of the most pleasant surprises in the Pauillac tasting was Ch. d’Armailhac, which seems to completely overdeliver in 2020. The colour is intense and the palate is beautifully ripe, while also remaining mouth-wateringly fresh. There is a lovely precision to the Cabernet fruit that makes it stand out. It is a very succulent and moreish wine. The tannins are very fine – firming up nicely on the finish and adding structure. You feel d’Armailhac made the most of the vintage, achieving full phenolic ripeness, while managing to retain freshness and a medium body. Impressive.  2020 Ch. Batailley, Pauillac  There’s a lovely crunch to the nose of 2020 Batailley – with aromas of redcurrant, raspberry, vibrant fresh blackcurrant, but it’s also really floral, with rose, violet, a white pepper spice, a little cocoa, and a savoury, barnyard touch behind. On the palate is soft and beautifully textured – like reams of silk, but then the wine firms up as layers of chalky tannins build up to give the wine structure. There’s a slight warmth of alcohol, but a wave of tart, almost green-apple acidity that keeps the wine feeling really fresh. Even now this feels surprisingly approachable, fresh and moreish, with a core of dark and savoury fruit. Once the scent of florals and red fruit fade, the finish is long, earthy and iron-edged.  2020 Ch. Langoa Barton, Saint-Julien  Ch. Langoa Barton is impressive in 2020. It has a lovely perfumed, floral nose with distinct violet tones. The ripe cassis fruit and milk chocolate flavours bring a lovely richness to the wine, but it is not at all overblown. The fruit is pristine, the tannins are serious yet refined and matched by a lovely natural juiciness. This is very well-balanced Saint-Julien from a vintage that seems to suit the Langoa terroir.  2020 Ch. Labegorce, Margaux  This Ch. Labegorce is particularly attractive – a bright almost scarlet purple in the glass. The nose is opulent with rich, dark red cherry and plump plum fruit complemented by a floral lift and toasty undertones. On the palate, the fruit is bright and crunchy, with good density. Vibrant and silk-textured, the tannins are fine textured. A charming, quite exotic Margaux. The blend is 50% Cabernet Sauvignon, 45% Merlot, 3% Cabernet Franc and 2% Petit Verdot, aged in 40% new oak.  Explore Bordeaux or read more Editorial 

You don’t need us to tell you that the First Growths made good wine in 2020 – but there’s plenty of brilliant value to be found beyond the grandest names. Here we’ve picked 10 of the more modest wines from our tastings so far that are firmly on our wish-list 

We name 10 of the more modest wines from our 2020 Bordeaux en primeur tastings that are firmly on our wish-list 

10 best-value 2020 Bordeaux en primeur wines

Bordeaux En Primeur 2020: top-value buys

We caught up with Madame Lalou Bize-Leroy on all the latest developments at Domaine Leroy and discussed the 2019 vintage, which is set to be one of the lowest yields she has ever produced in the Côte de Beaune. There are some fantastic wines this year from both Domaine d’Auvenay and the Maison Leroy Collection, including a mixed vintage red, coming exclusively from vintages in the nineties, predominantly 1999, originally released to celebrate the millennium. On arriving in Burgundy we headed straight to Maison Leroy situated in the village of Auxey Duresses. There we met with Frédéric Roemer and Gilles Desprez (Lalou’s right-hand men) to taste the wines destined to be released as part of the Maison Leroy Collection later this month. The range this year is smaller than usual but what its lacks in volume it makes up for in quality as well as variety.
 The Maison Leroy Collection 2020 The wines as always were selected by Lalou, based on them all entering into their ideal drinking window with the youngest vintage of white being the 2012 Puligny Montrachet 1er Cru and a selection of reds from 2003 – Maranges, Aloxe Corton and Chambolle Musigny 1er Cru. Two exceptional non-vintage releases are also included in the collection this year, a mixed vintage white wine called “Fleurs de Vignes” and a mixed vintage red called “Hommage à l’An 2000”.  This marks just the second-ever release of “Fleurs de Vignes” (the first bottling of this blend was released in 2015) and is composed of three different vintages of Bourgogne Blanc blended with Puligny 1er Cru Champ Gain.  The “Hommage a L’An 2000”, is a unique Pinot Noir blended by Lalou, originally released in 2004 to celebrate the millennium, comprised of a mixture of Bourgogne Rouge cuvée and a number of unspecified village crus, all exclusively from vintages in the 90s with the majority of the wine coming from the 1999 vintage. This special bottling will come with a gold capsule and each bottle is individually numbered. NV Bourgogne Rouge “Hommage a l’An 2000”, Maison Leroy (2020 Release)
Complex nose with both fresh red berry fruit aromas complemented by more earthy, savoury, forest floor and dried cigar leaf notes. Lovely density on the palate with a broad fruit spectrum from candied red berry to savoury dried leather and animal notes. Very elegant on the finish and lots of vibrancy too. NV Bourgogne Blanc "Fleurs de Vignes”, Maison Leroy (2020 Release)
Superb nose, very expressive with aromas jumping from the glass; rich, yet retaining nice stony minerality. In the mouth, there is an explosion of flavours and a lovely creaminess in texture, progressively building on the palate. This is beautifully dense, lactic and mouthcoating, clearly punching above its classification. Sumptuous, precise and long length. This has to be one of the most impressive Bourgogne Blanc out there. Another highlight this year included the Volnay 1er Cru 1984, which although was one of the most difficult vintages in living memory, this wine was really stunning and a benchmark for the Volnay terroir. 
1984 Volnay 1er Cru, Maison Leroy (2020 Release)
There is a charming, elegant perfume to the nose, exuberant, opulent with rich wild strawberries, raspberry, kirsch notes, dried herbs and wild mushroom with a touch of rusticity too. The nose is hypnotic in its perfume and the palate is equally so. It has a very elegant mouthfeel as the fruit aromas continue to the palate and finish with a lovely salinity. This is
a wonderful wine, quite extraordinary. Prior to our visit to Domaine d’Auvenay, we had a quick opportunity to visit the Leroy cellars, an extraordinary collection of ageing bottles, awaiting release, including Batch 001 – the last remaining bottles of 1919 Auxey Duresses. These are the oldest Leroy bottles in existence in their cellar.
 Domaine d’Auvenay Domaine d’Auvenay, is a 20-minute drive from Maison Leroy based in the village of Saint Romain. Here we were greeted by Lalou and her two dogs Nine and Nais as well as a lunch with a few bottles from the latest selection of Domaine d’Auvenay wines also due to be released this month.  We were soon talking about the latest 2019 vintage and Lalou starts laughing about how stupidly low the yields were. The heat and drought of the vintage meant production was significantly down. In fact, the yields were some of the lowest she has ever seen! Most cuvees in 2019 at Domaine d’Auvenay amount to just 1 barrel of each. For the Criots Batard Montrachet she produced less than 100 litres! Despite the pitiful amounts produced, she is extremely happy with the quality and unbelievable concentration. Leroy and d’Auvenay’s vineyards remain incredibly easy to spot in the Cote d’Or due to her unique pruning methods. She wants to create the highest vines possible rather than hedging the vines which she believes stresses the vine too much and affects the pollination the following year.  Lalou admits the process is incredibly high maintenance and requires an extensive full-time viticultural staff to manage. She has up to 60 staff working for her during the season across Leroy and d’Auvenay. Whilst her neighbours have warmed to her philosophy (initially many thought she was crazy), few have followed suit, not being able to justify the running costs of such methods. Since the 90s Lalou has been carrying out analysis on her soils, conscious of the effects of her neighbours using chemicals as another viticultural shortcut. Fortunately, the results she has received shows that the impact from neighbouring plots on her own is marginal and her soils were in good shape and using biodynamic organic farming since establishing the domaine
in 1988 has seen the soils improve year after year. The whites we tried from Domaine d’Auvenay were the Meursault Narvaux 2009 which had an utterly captivating nose, so expressively full of toasted nuts, baked bread, white flowers and matched by a great texture both rich and creamy yet so mineral, so elegant, so precise. This was followed by the exceptional Meursault Gouttes d’Or 2007. The Gouttes d’Or is one of Lalou’s favourite terroirs and one of the most recognisable, stating it has this beautiful
alliance of freshness and richness, always retaining a vibrant backbone of acidity but enveloped by a rich, butter-like texture. These whites were followed by d’Auvenay’s epic Mazis Chambertin 2002: deceptively elegant and subtle on the nose and enormous on the palate. The breadth of the wine is stunning, mouthfilling supported by powerful yet utterly refined tannins. As you coax the glass, aromas of rich dark berries allied with an ethereal floral bouquet joint with freshly grounded coffee,
mocha, dark spices and a hint of wildness too. It's an emotional palate where flavours
come from all direction but there is a real sense of harmony with the complex flavours coming together in the glass. It has epic length and is just approachable now but possesses enough texture and weight to evolve for at least 20 years. Whilst tasting bottles of Domaine d’Auvenay is an unforgettable experience, the tasting was topped by a very rare bottle of Maison Leroy Auxey Duresses 1926. It turns out that this bottle was one of a case presented to the legendary Chef Paul Bocuse for his 50th birthday by Lalou in 1976. It was in fact the last bottles of the vintage from the estate. F+R came into possession of the bottle from an auction in Lyon following his death last year. We thought who better to share the bottle with than Lalou herself. 

Lalou started to recall 1926 was in fact a pretty difficult vintage and that very little wine was made that year. Yet on tasting the wine, it was extraordinary, really something quite exceptional. As we tasted the wine throughout the lunch it continued to evolve and improve rather than deteriorate. It was incredibly stable in that sense and multi-faceted, every time
you put your nose in the glass there were different aromas. It retained its structure right through the lunch and held up brilliantly against the d’Auvenay Mazis Chambertin 2002. It is also even more special since these Pinot Noir vines have since been replanted with Chardonnay vines and thus the wine has not been in existence since then. Today this vineyard produces Domaine d’Auvenay’s Auxey Duresses Les Clous Blanc. It was one of the original vineyards that belonged to her father and therefore one of the most treasured by Lalou. Asked about her favourite wine (surely a question on everyone’s lips!) she replied without hesitation “1955 Chambertin”. Asked why, she replied simply “because it is my favourite”. A fair enough response and typical of Lalou’s unpretentious approach when tasting these remarkable wines. She admits she really loves drinking aged white Burgundy and was keen to prove why during the now legendary tasting in 2018 where she opened white wines dating back to the 1940s and invited the world’s leading wine critics to the domaine.  She wanted to show them how aged white Burgundy should actually taste. She states that the whites from the 1940s were tasting 20-30 years younger than they were thanks to the quality of the wines and the perfect cellaring in the very humid cellars at Leroy. The incredibly stable temperature in the cellar further helps create wines of remarkable stability and ageing potential. Following the tasting, Antonio Galloni commented: “To say these are among the greatest wines I have ever tasted seems superficial.” Before leaving we discussed with Lalou the latest Maison Leroy Collection 2020 release, which she is very proud of. She still, to this day, hand-selects the wines herself. Courtiers bring her wines to try from every appellation and under no contracted obligation she simply picks the wines she feels are the best and represents each appellation most truthfully. Given how well the wines then go on to age at the Leroy cellars is proof of her abilities and the strength of her palate. With 65 years experience of in selecting wines for the Collection, her encyclopaedic knowledge of Burgundy makes her a true savant of the region. Browse all current Maison Leroy, Domaine Leroy and Domaine d'Auvenay listings

Back in Burgundy for our annual visit to Domaine Leroy, we selected what we will offer from the new Maison Leroy 2020 Collection. This year we were also able to taste some of the latest Domaine d’Auvenay releases as well as a rather special bottle of 1926 Auxey Duresses from Maison Leroy.

Exploring the Maison Leroy 2020 Collection and latest Domaine d’Auvenay releases on our team's annual visit to Domaine Leroy.

Visiting Domaine Leroy and d'Auvenay

Chile is already well-known for producing top-quality Chardonnay and, to a lesser extent, Pinot Noir. But the wines tend to translate the intense solar energy synonymous with the region – producing fat, juicy, candied-fruit wines that lack the tension and minerality that the world’s very top examples exude. Baettig, however, is a notable exception – something that was highlighted by a recent vertical of the young estate’s first three vintages. The project came out of Francisco Baettig’s obsession with finding the right place for these finickity grapes in Chile. Following his own experiences growing Pinot Noir and Chardonnay elsewhere, he knew what he had to avoid. He was adamant that he wouldn’t rely on irrigation, which leads to shallow root growth and therefore, in his view, less terroir expression. Secondly, he wanted better clonal material. Baettig went to the very best to source his vines – his Pinot Noir vines come from a top vine nursery in Gevrey-Chambertin. He also needed a cooler climate where he wouldn’t have to rely on thick canopy growth to protect the grapes from the sun – something which Baettig believes can lead to overt green flavours. High-intensity sunshine also leads to thicker-skinned berries, but – for Baettig – thinner-skinned berries produce fresher wines and more ethereal tannins, both elements he seeks in his Pinot Noir. A cooler climate would also mean lower alcohol and fresher fruit profiles. With all these components in mind, it took Francisco Baettig (of Errázuriz, Seña and Chadwick) and his business partner Carlos de Carlos two years to find what they felt was the best place for this project. Fortunately, for Baettig and Carlos, it was familiar territory. The remote Traiguén district of Malleco in Patagonia is close to where both Francisco and Carlos’s families are from. On the 38th parallel south, the region has enough annual rainfall to allow dry-farming, the solar intensity is 25% lower than in central Chile (allowing for lighter canopies and thinner skins), and the volcanic bedrock on top of clay soils is poor enough to produce naturally low-yielding, high-intensity fruit. They planted vines in 2012 and their first experimental vintage was 2016, making a tiny amount of wine for family and friends. After all that time and effort, it was only then that they found out if this place was as good as they hoped. “It was a nervous time,” chuckles Carlos. But the wines quickly brought a sense of relief – it was early days, but they could sense the promise and they could already feel the elusive tension present in the wines. It would be another four years before they launched their first commercial vintage in 2020. The wines were from 2019 – and it proved not the easiest vintage to launch a new wine. Baettig always wanted vintage variation, a region on the margins where the vintage leaves its stamp. But 2019 was a very hot vintage in central Chile and, though Baettig’s wines suffered a lot less in the cooler south, they were still affected. Now with three commercial vintages under their belt, the critics that have managed to taste the wines have been more than impressed. From the outset, their 2019 releases were met with much fanfare. James Suckling described them as “compelling… rare gems that make you contemplate Burgundy”. The 2020 Baettig Vino de Viñedos Los Parientes Pinot Noir was selected among the top 10 Chilean Pinot Noirs by a Decanter tasting panel and Joaquin Hidalgo from Vinous wrote that Baettig’s “ wines leave behind a trail of tension that is the stuff of drinkers’ dreams”. Francisco Baettig is no stranger to such accolades. He is already one of Chile’s most celebrated winemakers. Awarded Chile’s winemaker of the year in 2018 by Tim Atkin thanks to his work at Viña Errázuriz, he was instrumental in establishing the winery both in the fine wine world with Seña and Chadwick, but also amongst everyday drinkers with their consistent quality at lower price points. While Viña Errázuriz has become a hugely successful business with production amounting to over five million bottles every year, Baettig’s Traiguén project is tiny. Entirely self-funded, it is a real labour of love and production today is just 55,000 bottles per year.  These early years have not been without difficulty. Being able to dry-farm was important, but this came at a cost. While the rainfall should be sufficient to dry farm and protect them from potential drought in the early days, Baettig still chose to irrigate half the vineyard and left the rest without water. In the 10 years since they first planted, the unirrigated young vines suffered terribly and only the irrigated part of the vineyard grew strong. Once established these vines can now survive without irrigation. Since then, Baettig has replanted where the vines suffered most and irrigated the young vines before weening them off their water supply once established. It was a costly mistake that saw their production reduced by almost half. The quality of tannins in their Pinot Noir has also not been straightforward. Vine age, Baettig believes, is essential to create the quality tannins he is looking for. At the moment the Pinot Noir vines are too young to provide the texture he is ultimately seeking. He is using whole-bunch fermentation (up to 15%) to add texture, as well as more herbal spice aromas. He is also using new oak (at varying levels) to provide a bit more structure and backbone to the Pinot Noir. As the vines mature and the tannins become more present, he hopes he can taper his use of oak and whole-bunch to find the perfect balance. If the wines are already this good with such young vines, the future here is tantalising. The Chardonnay production has been more straightforward, and the wines are outstanding. The taut mineral expression, salinity and richly fruited body belie their modest price tags. Tasted blind you would never guess they were from Chile – but the early success of these wines is no doubt setting the benchmark for Chardonnay and Pinot Noir in Chile, as well as changing our expectations of the flavour profiles in the region.  Beattig and Carlos remain convinced about the region, and today the results speak for themselves. With so much going for it, you can’t help but feel this remote region will transform in the next few years as more and more vignerons realise its potential. 
 Vertical tasting of Baettig’s wines from 2019 to 2021 
2019 Baettig, Vino de Viñedos, Los Parientes Chardonnay: The 2019 Los Parientes Chardonnay is starting to show the first signs of development with honeyed, citrus aromas and dried fruit tones. The palate remains clean and taut, very fresh with lime fruit flavours and structurally vertical in style. There is a contrasting mix of sweet, honeyed fruit and sharp acidity on the finish. 2020 Baettig, Vino de Viñedos, Los Parientes Chardonnay: Compared to the 2019, the ripe citrus fruit is better integrated with the acidity. A cool vintage for the region produced a wine with lovely contrasting lemon and orchard fruit flavours with more savoury, earthy, lightly smoky, mineral tones. The wine has great tautness, and the vibrancy really lends persistence to the palate. Again, it has a very vertical Chablis-esque style that is beautifully balanced and refreshing. 2021 Baettig, Vino de Viñedos, Los Parientes Chardonnay: The 2021 vintage in Traiguén is looking very special based on these early bottlings of Vino de Viñedos (the more premium Selección de Parcelas will be released next year). The nose is complex, with green herbal tones allied to chalky, briny, mineral notes. The palate retains that distinct vertical, Chablis-esque character, but also has a lovely, rich mid-palate. The tautness brings great energy to the wine. The wine has all you want in an acid-driven Chardonnay – varietal expression, verticality, salinity and a long, refreshing finish. This is exceptional value at under £20. 2019 Baettig, Selección de Parcelas, Los Primos Chardonnay: The Selección de Parcelas are the top bottlings from Baettig. The wine is barrel-fermented and aged for 14-15 months in oak. Compared to Los Parientes, at three years of age, the wine shows less development in bottle. The peppery spice from the oak along with the textural layering on the palate gives the wine a great mouthfeel. It is rich and concentrated, but still has plenty of tension and a refreshing mineral salinity on the finish. 2020 Baettig, Selección de Parcelas, Los Primos Chardonnay: The 2020 Los Primos Chardonnay is much more reductive on the nose than the 2019 tasted alongside. The mineral, struck-match reductive tone eases with air followed by lovely honey and delicate white-flower aromas – bringing beautiful lift to the wine. The textural quality is outstanding, and the oak ageing gives the wine a textural layering that is rich, concentrated and juicy. The orchard fruit and pepper spice from high-quality oak are all beautifully integrated. The refreshing saline notes come through on the finish and leave the palate feeling super fresh. 2019 Baettig, Vino de Viñedos, Los Parientes Pinot Noir: The 2019 Pinot Noir has just 7% whole-bunch fermentation, but it adds complexity, bringing lovely grilled, herbal, savoury notes to the wine as well as a bit of texture. The savoury tones gel nicely with earthy, wild strawberry and a touch of menthol. The inclusion of whole-bunch here is quite noticeable and dictates the character of the wine. 2020 Baettig, Vino de Viñedos, Los Parientes Pinot Noir: The 2020 is noticeably richer and full-bodied compared to the lighter-styled 2019. The whole-bunch, grilled, herbal, stemmy tones again add complexity but seem better integrated and balanced with the rich blackberry and plum fruit. Despite having a higher percentage of whole-bunch than in 2019, the vintage’s riper fruit and tannins are better able to balance out the additional complexity.  2021 Baettig, Vino de Viñedos, Los Parientes Pinot Noir: The 2021 Los Parientes is easily the best Pinot Noir Baettig has made at the estate so far and a real jump up in quality from 2020 and 2019. The nose has great fruit clarity with rich, ripe black cherry and blackberry fruit aromas. The grilled herbal notes sit beautifully in the background, adding depth and complexity to the aromas. The whole-bunch is also better integrated on the palate, bringing lots of texture, matched by vibrant acidity and saline notes on the finish. It reminds me of a village Morey-Saint-Denis from a ripe vintage in its fruit profile with earthy, blackberry coulis fruit. The wine certainly has a more European/cool-climate edge to it. 2019 Baettig, Selección de Parcelas, Los Primos Pinot Noir: Like the 2019 Selección de Parcelas Chardonnay, the 2019 Pinot Noir has handled the warmer vintage conditions much better, but the warmth of the vintage shines through in the sweet, candy-like blackberry fruit. This is more New World in style – full-bodied, rich, ripe and full of juicy fruit. The herbal tones from a proportion of whole-bunch comes through nicely on the finish, adding savoury complexity. 2020 Baettig, Selección de Parcelas, Los Primos Pinot Noir: The 2020 has a very dark, deep purple colour and some charry, smoky and peppery tones from high-quality oak that is well balanced by fresher, grilled, herbal notes from the portion of whole-bunch fermentation. The wine is very rich, ripe and juicy, with textural tannins adding lots of structure. Browse all listings from Baettig or read more Editorial

Francisco Baettig’s new project in Chile’s volcanic south is wowing critics. Tasting through the first three vintages reveals a fascinating evolution. We caught up with founders Francisco Baettig and Carlos de Carlos to find out more 

Francisco Baettig (of Errázuriz, Seña and Chadwick) on how his new Pinot Noir and Chardonnay project in Chile’s volcanic south is wowing wine critics

Baettig, the rising star in Chile

Baettig: the rising star of Traiguén

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