Sitting plum in the middle of the Côte d’Or, the hill of Corton is hard to miss. Its wines, especially the whites, however, are all too often overlooked. We sat down with some of the region’s leading producers to explore the pedigree and potential of this site and its powerful, long-lasting wines

Discover the pedigree and potential of the hill of Corton’s whites – the fine Chardonnay from Corton-Charlemagne, Charlemagne and Corton Blanc 

Exploring Corton-Charlemagne, Charlemagne and Corton Blanc 

Corton-Charlemagne: the Grand Cru of the future?  

As our team arrived in Saint-Emilion under sunny skies to start our annual en primeur pilgrimage, you’d be forgiven for thinking that the mood in the camp was somewhat apprehensive. Ever since the end of the Burgundy campaign, like every spring, the spotlight turns to Bordeaux and the press surrounding the 2024 vintage has been somewhat pessimistic – with a backdrop marked by talk of tariffs in the US, falling prices and the eternal question of en primeur as a viable mechanism for distribution today.  I find so often that – at primeurs – vintages are reduced to generalisations that never do justice to the region’s diverse terroir. This being my eighth campaign, I remind myself every year that this week is so much more than just an opportunity to taste the latest vintage. It’s a chance to spend time with those behind the barrels and to hear their story, for producers to share their insight on the vintage first hand. With over 50 visits booked, there was plenty for us to get our teeth into before we could draw any meaningful conclusions. Our first visit of the week was at Cheval Blanc – and it provided an excellent first litmus test in determining the quality of the vintage. Technical Director Pierre-Olivier Clouet highlighted the challenges brought by the sheer quantity of rainfall in what was one of the wettest winters for the region since records began. And the widespread rainfall – from the autumn of 2023 onwards – was the start of a series of challenges that would test even the most experienced of winemakers. After just our first morning of tasting, we could see that the 2024 vintage was throwing up a level of heterogeneity and diversity not seen in more recent, solar vintages such as 2022 and 2023. Challenges including mildew, uneven flowering, poor fruit-set and botrytis could be treated any number of ways with varying levels of success – the results of which were fascinating. Our full vintage report, due next week, will look more closely at the conditions of the year, producers’ reactions and the style of the wines. But, from our tastings across the Right Bank, we were pleasantly surprised by the quality on show in amongst the variety. The best wines of Saint-Emilion and Pomerol seem to have favoured a later harvest, risking losing fruit as they waited for phenolic ripeness. Many of our favourites have wonderfully lifted aromatics that are both expressive and concentrated – balancing the Merlot’s juicy fruit against the Cabernet’s texture and structure. This year, we spent just under two weeks in Bordeaux – our longest en primeur tasting trip to date. This allowed us to fit in a couple of extra visits into our tightly packed program. One of these was at Guillot Clauzel, a tiny two-hectare property nestled in Pomerol just a stone’s throw from Le Pin, and under the guidance of winemaker Guillaume Thienpont since 2018. Our visit highlighted that it was clearly possible to make excellent wines in 2024 regardless of price point or scale. The same is true on the Left Bank. In a year where the resilience of the Cabernet shone through, the best wines are quite classical. There’s impressive purity to the fruit on the mid-palate coupled with a backbone of acidity that brings length and drive. Saint-Estèphe and Pauillac seem to have been particularly challenging, with more mixed results (but some unashamed stars – just look at Montrose), while Saint-Julien, once again, offers a more consistent stable. Margaux and Pessac-Léognan’s lighter styles perhaps align best with the vintage’s natural style, and there are some particularly promising wines here. (While rarely a focus, it’s worth highlighting the quality of some of the whites this year too.) There is no year that we can remember in which it has been so important to get boots on the ground and taste en primeur – and taking the time to talk with producers to understand the specifics of the vintage. Producers have come to expect an unrivalled level of questioning when our team shows up. Now that the dust has settled, we can put our spittoons (and notebooks) away and take stock over the Easter weekend. We expect a steady stream of releases to start from as early as Tuesday next week with Batailley and Pontet-Canet set for 22nd and 23rd, respectively. Whatever the campaign has in store for us, we know that 2024 is a year to be selective. Consumers willing look past any pre-conceived ideas about the vintage will be rewarded. Keep an eye out for our full report, set to be published next week, as well as the very first releases

With teeth still wine-stained, our team is returning from almost two weeks tasting Bordeaux 2024 en primeur. Ahead of the very first releases and our full report on the vintage, our Bordeaux Buyer Hector Howes offers some early thoughts on the year – and why it deserved our longest trip to date

After almost two weeks in the region, Bordeaux Buyer Hector Howes offers his initial thoughts on the Bordeaux 2024 vintage and the wines it produced

Bordeaux 2024 en primeur – first thoughts on the vintage

Bordeaux 2024: first thoughts

Bordeaux is changing. The Left Bank, in particular, has long been a region of labels – of grandiose estates, polished winemakers and the bottles they produce – the vineyards a backdrop to their impressive châteaux and new state-of-the-art wineries. Of course, vineyards have mattered, as much as they’re the source of their grapes, but they’ve rarely been the focus for conversations with trade or consumers. But now, perhaps influenced by the meteoric rise of Burgundy – and an approach to wine echoed around the world, terroir is stepping into the spotlight. Behind the scenes, the Bordelais may always have been looking underfoot, but now they are talking about it too.  Nowhere is this more true than at Ch. Montrose – a property that announced a significant change when releasing its 2023 vintage. The property has always made some of Bordeaux’s finest wines, but over the past 15 years (under the Bouygues’ ownership) quality at this Saint-Estèphe estate has reached new heights. Long known for its austere age-worthiness, there’s now a modern polish that softens its stern style – without sacrificing its classicism and longevity. Each vintage seems to reveal a new level of precision and finesse. From 2023, Montrose announced that its Grand Vin would only come from Terrace 4 (T4). If that doesn’t mean much to you, I’m not surprised.  The Médoc and Graves’s six gravel terraces were uncovered by Pierre Becheler in a series of studies in the 1980s and ’90s. Each terrace dates from a different period and has its own distinct soils, with Terrace 1 (T1) the oldest and Terrace 6 (T6) the youngest – and argued to be a defining factor in the Left Bank’s terroir. T3 and T4 are widely regarded as the best for wine-growing, and Becheler found that, at the time of their classification in 1855, over 80% of the Classed Growths sat on these two distinct geological strata.  In the last decade, these gravel mounds have become a key part of Bordeaux’s story, explaining the estates’ terroir. Despite widespread understanding that the terraces are integral to the quality of wine, there still isn’t a comprehensive map of the Left Bank’s terroir – showing which vineyards sit on which soils (the best are those created by Jane Anson and Kees van Leeuwen for Anson’s book Inside Bordeaux). Most studies have been undertaken by individual estates, as at Montrose – who engaged Becheler himself to uncover the specifics of their site.  It's remarkable that, without knowing anything about the region’s subsoils, Montrose was so fortuitously placed – although it has of course survived thanks to its prestigious site. The property’s first vines were planted – all on the fabled T4 – in 1815, by Etienne Théodore Dumoulin, who had purchased the land from Nicolas Alexandre de Ségur (of Calon Ségur). The land had been covered in heather, its pink blossom covering the gentle slope come autumn, and sailors passing along the Gironde estuary used to call it the pink hill – or “mont rose”, giving the property its name.  It was only 40 years after the first vines went in the ground that the estate earned its place as a Second Growth in the 1855 Classification. By 1861, when Dumoulin passed away, the estate comprised 95 hectares – but its borders have shifted over the years. It was later purchased by an Alsace factory owner, Mathieu Dolfus, who invested heavily in the property. He was a visionary – offering free healthcare, profit sharing and accommodation on the estate for his workers. He even used a wind turbine to flood the vineyards, staving off the impact of phylloxera as long as he could.  Montrose was managed by the Charmolüe family between 1896 and 2006, with Jean-Louis – who ran the estate from 1960 – key in building its modern reputation. It was under him, in the 1970s, that vines were planted on lower-lying land close to the estuary, which sits on T5. These humid, sandy parcels are now used for La Dame de Montrose, the château’s second wine.  It was in 2006 that brothers Olivier and Martin Bouygues (of the eponymous telecoms company) acquired the property. In 2010 they bought an additional 22 hectares from Phélan Ségur, land which had historically been part of Montrose. These vineyards, wooded on either side, sit on the sandier T3, but importantly also brought the total vineyard area back to 95 hectares – as under Dumoulin – and all sitting in one block (something which is relatively rare in Bordeaux).  The Bouygues brothers hired Vincent Decup as the estate’s Technical Director in 2014. Decup instantly set about getting to grips with the estate and its soils. When he arrived, they had a map detailing 16 different soil types across the vineyards – but he soon commissioned further studies, uncovering an additional 10 soil types. This gave them, Decup tells me, “the possibility to explore and separate” parcels, diving into the detail of the site with a Burgundian, rather than Bordelais, vision. From 2017, the team started delineating the parcels – vinifying plots in 93 separate tanks (over twice the 40 that had been used just three years prior), adapting the winemaking to each. Looking at the Cabernet Sauvignon on T3 and T4, he explains how they gained a “new level of precision and comprehension of Cabernet on each terrace”.  “The Cabernet Sauvignon of Montrose naturally gets lots of power,” Decup tells me. “We have to be careful with the extraction.” Especially for fruit from T3, he explains, it can easily become overly austere. T4 has always represented the majority of the blend for the Grand Vin at Montrose – and in Decup’s mind it is not just the property’s historic DNA, but what gives the wine its identity. He tells me how there is something magical about the way Cabernet ripens on these parcels, developing technical (sugar), aromatic and phenolic ripeness all at once. It produces wine that is “powerful, voluminous, demonstrative – a lion in a cage”.  In 2022, the same year that Charlotte Bouygues took over as President and Pierre Graffeuille became CEO, the team started focusing more on T4, and from 2023 the Grand Vin comes exclusively from this prized terrace. Coming from the Delon estates, Graffeuille knew the potential of these soils, shared by Léoville Las Cases. The 2022 vintage was pivotal – earning four potential 100-point scores, with four firm 100-point scores in bottle – and the 2023 followed in its footsteps, with three potential perfect scores to its name.  The gravel terraces rise and fall through the region. T4 surfaces in Saint-Estèphe, running under Meyney and Montrose, disappearing until the southern edge of Pauillac, reappearing around Latour, then running through much of Saint-Julien (including the three Léovilles – Las Cases, Barton and Poyferré – and Ducru-Beaucaillou), rising again throughout Margaux and then again under Haut-Brion and La Mission Haut-Brion, with small pockets further south.  The defining factor of T4 is an iron pan beneath its sandy gravels. The sandy gravel topsoil allows young vines to develop roots easily, before they hit the compact iron layer – forcing the vines to spread horizontally rather than vertically. That compact layer is cool and retains water, feeding the vines in hot years. Decup explains how in July the topsoil might be hot, but if you dig down you can feel the chill of the iron layer – something that is perfect for Cabernet Sauvignon. At Montrose, T4 sits between 12 and 16 metres’ altitude, while elsewhere it reaches a maximum 22 metres. T4 tends to run close to the Gironde, which provides a moderating influence – especially so at Montrose, where the estuary is 4.5km wide (notably protecting the estate from frosts, such as in the brutal 1991 season – a year when Montrose produced the wine of the vintage).  As with T4, T3 runs beneath many Classed Growths – notably Cos d’Estournel, Mouton and Lafite. With sandier gravel topsoil, the key difference is that T3 doesn’t have the iron pan of T4 – the topsoil instead sitting directly on clay-limestone subsoil. Slightly higher in altitude (15-18 metres at Montrose, but generally 20-26 across the Médoc), the soils are very deep and the vines’ roots drive straight down, up to three metres or so at Montrose, Decup tells me. With less clay in the topsoil, the soils are particularly free-draining, and the vines reach down in search of water. “In terms of expression, it is not the same at all,” says Decup. He explains that while it also produces bold Cabernet Sauvignon, it’s got particular energy and length, an austerity – but “positive austerity”. Vines on T3 particularly thrive in hot, dry years, he tells me.  Montrose has an impressive 45 hectares of vines on T4, 12 on T3, a swathe on what the team describes as an “intermediate soil” – somewhere between the two terraces, and a small portion on T5. So what now of the property’s vines on T3? While the château isn’t openly confirming it, a separate bottling of T3 is set to be released – likely hitting the market in 2026, if rumours are to be believed. The rest of the fruit goes into La Dame de Montrose, and a small portion into a third wine, Tertio de Montrose (previously known as Saint-Estèphe de Montrose), which is exclusively for those working at the estate. All in all, the Grand Vin now represents circa 36% of production at Montrose – down from closer to 45%.   “T3 and T4 are, in our opinion, the terraces that produce the best viticultural results,” says Pierre Becheler, when it comes to the Médoc and Haut-Médoc. Interestingly he explains that in the Graves it’s very different, and T2, which is almost non-existent in the Médoc, produces some stunning results. He can’t fully explain why one terrace works better for wine than another, but one reason the terraces are so important is their influence on water availability. With varying proportions of clay and sizes of gravel, it’s a key element in viticulture and, eventually, wine quality. Although he has spent much of his career diving into these gravel beds, however, he’s very clear that the terraces are one very important piece of the puzzle – but will never provide the entire picture. Some terraces are the best in certain appellations, he says, “but we don’t really know why or how”.  The complexities of Bordeaux’s terroir are manifold – and some argue that the bedrock, from richer clays to hard limestones, are more influential than the gravel terraces that lie over them. On top of this, slope exposition, proximity to the Gironde, and many other elements influencing microclimate, not to mention the human influence, all contribute to the concept of “terroir”. It’s exciting to see site pushed to the fore, especially alongside an increased focus on sustainability in the vineyard. The conversation is evolving – and, if Montrose’s 2023 is anything to go by, it’s only going to push quality in the region higher than ever before.  Explore all current Montrose listing (including a special selection of ex-château stock) or read more about Bordeaux 

While long a leading estate, recent vintages of Ch. Montrose have earned sky-high scores. We sat down with the property’s Technical Director Vincent Decup to find out how the team is taking the Saint-Estèphe titan to new heights – all by looking underfoot  

Sitting down with Ch. Montrose’s Technical Director Vincent Decup to talk about its terroir, terraces and perfect-scoring vintages of the Saint-Estephe wine 

FINE+RARE: Talking terraces and terroir with Ch. Montrose 

What lies beneath: talking terraces and terroir with Ch. Montrose  

What is Premiere Napa Valley?  Inspired in part by the Hospices de Beaune, Premiere Napa Valley (PNV) is a wine auction that takes place every February in Napa. The week around the auction is filled with tastings and events relating to PNV. The auction is only open to members of the wine trade, most often merchants or restaurants who will then sell the wine exclusively to their clients. Today, Sotheby’s runs the actual auction. It first took place in 1997.  Which wines are auctioned off at Premiere Napa Valley?  The lots are all made specifically for the auction, one-of-a-kind wines that otherwise wouldn’t exist. Only members of the Napa Valley Vintners can make wines for the auction, and sometimes producers will collaborate on a lot. The lots normally comprise 240, 120 or 60 bottles, coming from AVAs across the region. These limited bottlings are often of a variety or vineyard not normally bottled separately, or a special blend or collaboration. The wines all come from the same vintage – harvest just under a year and a half prior to the auction (so the 2023 vintage is being offered in 2025), and tastings of these lots offer the first comprehensive view of a vintage to the trade.  Who organises Premiere Napa Valley and where does the money raised go?  The event is organised by Napa Valley Vintners. Napa Valley Vintners is an association of producers established in 1943 and formalised in 1944, a forum to exchange ideas and work as a group to overcome challenges as well as elevate the reputation of the valley’s wines. Napa Valley Vintners also organises Auction Napa Valley (previously knowns as the Napa Valley wine Auction) which was created in 1981 and takes place every summer.  Alongside its efforts to champion the region and its wines, investing in the local community is a huge focus: since 1981, the group has raised over $230 million for local non-profits – supporting healthcare and education, as well as environmental work. Today, 539 wineries are members of the organisation. The 29th iteration of Premiere Napa Valley, held in 2025, raised $3.3 million, a new record for sales. You can find out more about Napa Valley Vintners’ philanthropic work, which operates under Collective Napa Valley, and their current initiatives on their website.  Read more about Napa or browse all current Napa listings Photography: Alexander Rubin, courtesy of Premiere Napa Valley

Created by Napa Valley Vintners, the Premiere Napa Valley wine auction takes place every February. Here’s everything you need to know about the event and the lots on offer 

Everything you need to know about Premiere Napa Valley – California’s famous charity wine auction, organised by Napa Valley Vintners 

What is Premiere Napa Valley? About the famous wine auction

What is Premiere Napa Valley? 

The 2023 vintage in the Rhône was – like elsewhere in France – hot and dry, but not as hot as 2022. The preceding autumn was wet, but from January through to March 2023 there was practically no rain (indeed, not a drop fell between 21st January and 21st February).  Rain arrived in mid-May and there were frequent, small showers until the end of June, providing just enough water to avoid major water stress. Flowering and fruit-set took place without any issues, but as the rain showers continued, the threat of downy mildew and black rot arrived – and needed managing to avoid damage to the crop.  Late August brought a new challenge, with a heatwave that saw temperatures hit 40-42°C, lasting two weeks. There were reports of blocked ripening and young vines dying, but fortunately the weather cooled off and September offered a substantial diurnal swing in temperatures, helping retain aromatics and acidity in the run-up to harvest. The whites were largely brought in in August, before the heatwave had finished, while the red harvest took place over an Indian summer, with the last fruit in around mid-October.  The Northern Rhône faced additional challenges, with hail in Cornas, Crozes-Hermitage and Saint-Joseph, then on 18th September torrential rain – with over 100mm falling in one night. The northern part of the appellation avoided this deluge, with just 20mm.  Here’s what the critics are saying about the wines.  Jeb Dunnuck  Jeb Dunnuck is gradually releasing his reports on Rhône 2023, starting with Châteauneuf-du-Pape and Gigondas.  In Châteauneuf-du-Pape, 2023 is “another solid vintage”, he writes, offering “a bevy of ripe yet not excessive, pure, charming wines with loads to love”. He finds them darker-fruited and cooler than “the sunny, exuberant 2022s”, with a “soft, plump elegant style, and beautiful overall balance”. They are not intensely concentrated, he says, but “shine for their balanced, layered, seductive style”. They combine freshness and depth, and are “on a par, if not slightly superior to, the 2022s”, says Dunnuck, feeling they’ll also be longer-lived than the 2022s – comparing them stylistically to the wines from 2020, 2018 or 2012. While it may not be “truly great”, drinkers will find “a wealth of beautiful wines”.  As for Gigondas, he finds the wines “pure, elegant, beautifully balanced” – reminiscent of 2020 or 2012, “fresher and more elegant than the 2022s”. The vintage was the first in which whites were permitted in the appellation, and these come highly recommended – “beautifully fresh, focused, yet concentrated whites that show the limestone, mineral-like character of the appellation”.  Explore Jeb Dunnuck’s reports, notes and scores on his site (subscribers only)  Drink Rhône – John Livingstone-Learmonth  So far, John Livingstone-Learmonth has only published thoughts on the Northern Rhône in 2023, where he feels it is “good” if not “spectacular”. The reds have “reasonable levels of tannin”, while the whites are, he writes, “a definite buy”. In Cornas, he writes, the wines have an approachability, but don’t have “great stuffing or structure to match the really long keeping vintages such as 2015 or 2019”. He feels the wines will appeal to a modern audience, balanced with refined tannins and the best set to drink over 20-plus years, although selective buying is advised. In Crozes-Hermitage, this is particularly true, Livingstone-Learmonth advises, highlighting both mildew and hail, even if the best are impressive – with “snug tannins” and “stylish content”, and potential five-star ratings. The 2023s of Côte-Rôtie seem to stand out in the line-up, aromatic with moderate alcohols, even if not overtly structured. The results are, in Livingstone-Learmonth’s mind, “very satisfying”, with “appealing exuberance and plentiful fruit” – wines he expects to drink for a good 25 years or so. Explore John Livingstone-Learmonth’s full report, notes and scores on his site (subscribers only)  Decanter – Matt Walls  Both in the north and south of the region, the vintage earns a modest 3.5 out of 5 rating from Decanter’s Matt Walls. He emphasises how the rain showers that arrived in May and June were “crucial” in the otherwise hot, dry year, even if they also brought disease pressure.   Unlike other recent vintages, Walls highlights how approachable the 2023s are – perfect for drinking while waiting for other vintages (including the 2022s) to come round. He says the wines are perhaps comparable in quality to the 2022s, although are much more open. Both in the Northern and Southern Rhône, he finds the whites more consistent than the reds – offering “intensity, freshness and energy”.  The reds are more mixed in quality. In the south, you’ll find “a clutch of juicy, approachable and early-drinking wines”,  he says, “ripe with soft tannins and gentle acidity”, but “nonetheless displaying detailed terroir expression”. He found that, while Châteauneuf-du-Pape was heterogenous (with some wines lacking in acidity and marked by alcohol), Vinsobres, Lirac, Beaumes de Venise and Rasteau all excelled this year. He advises looking out for wines with Mourvèdre in the blend, bringing “welcome sinew”.  In the Northern Rhône, things were trickier. Hail struck Saint-Joseph, Cornas and Crozes-Hermitage, and there was a huge rainstorm on 18th September – so heavy that it damaged vines and resulted in some dilution. Côte-Rôtie, Condrieu and northern Saint-Joseph dodged the storm (receiving 20 versus 100mm elsewhere) and made some “excellent” wines, according to Walls. While much of the Northern Rhône produced fresh, supple reds, there is some “very fine Côte-Rôtie” and Cornas offers “strict, mineral and refreshing” wines that are “distinctly herbal”. Walls notes that there are many vibrant, fresh whites, particularly in Hermitage – where the whites are set to outlive the reds.  Explore Matt Walls’ full report, notes and scores on the Decanter site (subscribers only)  Wine Advocate – Yohan Castaing  Yohan Castaing hasn’t yet released his full coverage of the 2023 vintage in the Rhône, but has offered two reports on the whites of Châteauneuf-du-Pape and Gigondas, where it is the first vintage for white wines within the appellation rules. Generally, he finds the Southern Rhône whites in 2023 “aromatic and elegant, with bright acidities, a well-defined core and good aging potential”. In Châteauneuf, the aromatic profiles are, for him, reminiscent of 2022 and he considers the wines very good to excellent, with acidity that “balances the natural power and typically high pH levels of Southern Rhône grape varieties”. He attributes this in part to greater precision in the vineyard and winery, although some wines, he writes, still lack “dymanism and tension”.  The first whites to bear the Gigondas appellation name (coming from around 12 hectares of white vineyards) offer “a promising glimpse” of what lies ahead. He favours the pure Clairette expressions of Gigondas’s complex soils, even if the grape still represents a minimum 70% of the blends. Nevertheless, the 2023s, in Castaing’s words, have “remarkable freshness, tension and complexity”, exemplifying “the elegance and purity that Gigondas Blanc strives for, balancing structure with vibrancy”.   Explore Yohan Castaing’s full report notes and scores on Châteauneuf-du-Pape whites and Gigondas whites on the Wine Advocate (subscribers only)  Vinous – Nicolas Greinacher  In Châteauneuf-du-Pape, Vinous’s Nicolas Greinacher finds that 2023 “promises to be a delightful year for both reds and whites”. In his coverage of the growing season, he notes that sites with more clay fared better than sandier soils, able to retain key moisture during the year’s warm weather. He feels the reds in this leading appellation are good to very good, more approachable than the 2022s, and “although generally not set to be as long-lived as the 2022s, the finest 2023s are built to last”. He finds many of them “alluring”, “perfumed” and “juicy”. As for the whites, he finds them generous in style – matching the reds for quality, and offering brighter acidity versus the 2022s.  In the Northern Rhône, the reds are – he writes – “surprisingly fresh, calm and balanced”, with ripe fruit and “gentle tannins”. They aren’t as structured and long-lived as the 2022s, much more open and accessible in youth, but there are “standout wines in every appellation that are sure to endure”. He finds that Côte-Rôtie stands out this year for its “hauntingly elegant” wines, while Cornas offers wines of “granite-based austerity, fleshiness, boldness and elevated flavor concentration” (even if they’re “not blockbusters”). Saint-Joseph is more mixed, while the whites of Condrieu are mostly “lively, fresh and expressive, albeit not as precise and elegant as in 2021”.  Explore Nicolas Greinacher’s full reports, notes and scores on Châteauneuf-du-Pape and the Northern Rhône on Vinous (subscribers only)  jancisrobinson.com – Alistair Cooper MW and James Lawther MW James Lawther MW has covered the Northern Rhône and Alistair Cooper MW the Southern Rhône for jancisrobinson.com. In the north, Lawther finds 2023 “more elegant and approachable” versus the power and concentration of vintages like 2018, 2019, 2020 and 2022. The reds are generally low in alcohol, with a maximum 13%, he says, and relatively high pHs, yet they feel very fresh, with supple tannins and “juicy, gourmand” fruit – offering a much more “classic” profile, he finds. Côte-Rôtie has produced some of the vintage’s best wines, and is more consistent than those of Cornas, Crozes-Hermitage (with hail in both) or Saint-Joseph, full of “balance and charm even if they are not destined for excessively long ageing”. In the south, the story is rather different, as Cooper reports – the year defined by its warm and dry conditions. Although Châteauneuf-du-Pape produced some “extremely high-quality red wines”, selection is key, with some wines jammy and high in alcohol, although the best are excellent, offering power and concentration. The appellation’s best whites offer freshness and minerality, although some drift into flabbiness, with picking dates key. Cooper found quality in Vacqueyras and Gigondas more variable – for the latter, he attributes this in part to its sandier soils (less able to retain water in the dry year). Generally, however, he found the southern crus “largely turned out good-quality wines” – with Cairanne, Lirac and Rasteau in particular home to “balanced and attractive wines aplenty”. Explore the full reports, notes and scores on jancisrobinson.com (subscribers only) We’ll be adding to this feature as other reports are released.    

The 2023 vintage was far from easy in the Rhône Valley – but has clearly produced some charming wines. As the critics publish their reports on the year, we round up what they’re saying about the vintage and its wines, from Châteauneuf-du-Pape to Côte-Rôtie  

As the Rhone starts to release its 2023s, here’s what the world’s leading critics–Jeb Dunnuck, Decanter, Vinous, the Wine Advocate–are saying about the wines 

Rhone 2023 – what the critics are saying 

Rhône 2023: the critics’ verdict 

When Alain Hudelot retired in 2008, it was his grandson who stepped up to take over the family estate, Domaine Hudelot-Noëllat. Charles van Canneyt – then just 20 years old and fresh from his wine studies – suddenly found himself managing 10 hectares of vines and running a winery. But he wasn’t any 20-year-old.  Gradually modernising the estate’s equipment and tweaking the winemaking (particularly toning down the extraction), he transformed the reputation of the domaine. Rapidly he became known as one of Burgundy’s rising stars, with Domaine Hudelot-Noëllat soon among the region’s most revered names. Not one to be complacent, he started a négoce label in 2012 – offering another avenue for Burgundy-lovers to get access to his winemaking talent.   Now he has – along with his wife Anne-Sophie – taken on a new challenge, having purchased a new estate: Domaine des Chézeaux. It’s unlikely you’ll know the name of this Gevrey-Chambertin property, but you’ll almost certainly know its vineyards.  This history of Domaine des Chézeaux  Domaine des Chézeaux was created by François Mercier in 1982, although the family has had vines in the village of Gevrey-Chambertin since 1928. The estate’s name comes from the Clos des Chézeaux, the walled vineyard next to the domaine. The family were land-owners rather than winemakers, so all their vines were leased out – en métayage – to other producers. This arrangement is common in Burgundy: the vignerons renting the vineyards manage them year-round and make the wine, giving a portion of their production (often around a third) to the vineyard-owner by way of rent.  This historic estate grew from its original holdings and – as of 1994 – consisted of around four hectares. The vines were split between three producers: Domaine Ponsot (and later Laurent Ponsot), René Leclerc and Domaine Berthaut (later Domaine Berthaut-Gerbet).  Ponsot rented the property’s original 0.89-hectare plot of Griotte-Chambertin, as well as Domaine des Chézeaux’s parcels of Clos Saint-Denis*, Chambertin and Chambolle-Musigny Premier Cru Les Charmes. Domaine Berthaut leased the two Gevrey-Chambertin Premiers Crus (Les Cazetiers and Lavaux-Saint-Jacques) as well as the property’s village parcels, including the Clos des Chézaux. While technically the latter is a monopole, because Berthaut didn’t own the land it couldn’t be called as such.  Ahead of the 1994 vintage, the Mercier family purchased another parcel of Griotte-Chambertin, an additional 0.68 hectares that had been owned by Suzanne Thomas of Thomas Bassot, giving them the largest holding of this Grand Cru. The Esmonin family had been farming the vines in this parcel, selling some fruit to Jadot, and the Mercier family then leased it to René Leclerc (although the Esmonin family also continued to bottle the wine, with vintages of Frédéric Esmonin Griotte-Chambertin up to and including 1999 available). A portion of each of the finished wines was bottled under the Domaine des Chézeaux label, but was identical to that under the Ponsot, Leclerc or Berthaut labels – often at a fraction of the price.  Domaine des Chézeaux today In 2021, Charles van Canneyt managed to buy the estate and its enviable vineyard holdings. With all the vines under métayage contracts, the next challenge was to reclaim the vines – negotiating with each producer. By 2022 he had secured the monopole Clos des Chézeaux and Premier Cru Les Cazetiers, but sold the fruit. In 2023, having regained a parcel of Griotte-Chambertin, he made his first wines from the property.  By the time 2024 came around, he had managed to recover all the vineyards – adding Chambertin, Clos Saint-Denis and Chambolle-Musigny Premier Cru Les Charmes. As part of the extensive negotiations, the Lavaux-Saint-Jacques parcel, some Gevrey-Chambertin village vines and two small sections of Griotte-Chambertin were sold.  The vines are generally old across the property, and the farming and winemaking is identical to that at Hudelot-Noëllat, with the fruit entirely de-stemmed and seeing very gentle extraction. The first vintages were vinified at Domaine Hudelot-Noëllat (but are being aged in the cellars at Domaine des Chézeaux), and work has started on a new winery that is set to be finished later this year (2025). Interestingly Van Canneyt has already seen the wines maturing differently at Chézeaux, with the particularly cool, humid cellar meaning the wines develop more slowly during élevage and need topping up less. He therefore anticipates ageing the wines slightly longer than those of Hudelot-Noëllat. The estate is retaining its historic name, but with new labels – helping differentiate from older bottlings made prior to Van Canneyt’s arrival. The name has the same origin as Echezeaux: chesaux – plural of chesal (which comes from the Latin, casellum or casalis) – meaning a stone house or building.   The Domaine des Chézeaux holdings   The estate now has around three hectares of vines, over half of which is Grand Cru, spread across six appellations:  Gevrey-Chambertin Clos des Chézeaux: This monopole vineyard covers half a hectare, with some of the vines almost 100 years in age (planted in 1929). Mid-slope and facing southeast, the village site has deep, clay-rich soils with gravel, sitting just below Premier Cru Cazetiers and neighbouring another monopole village site, Clos du Château, farmed and produced by Armand Rousseau.  Gevrey-Chambertin Premier Cru Les Cazetiers: Chézeaux has 0.216 hectares of this Premier Cru split over two parcels: one of 0.1615 hectares in the northern section and 0.045 hectares in the south.  Chambolle-Musigny Premier Cru Les Charmes: Van Canneyt farms around 0.6 hectares in this Chambolle-Musigny Premier Cru, which he also has a parcel of under Domaine Hudelot-Noëllat.  Clos Saint-Denis Grand Cru: There is a plot of 0.3776 hectares in Clos Saint-Denis, which will briefly be appearing in the range for 2024 (with just one barrel), but is now being replanted and out of action until 2029 at least.  Chambertin Grand Cru: A parcel (combining one tiny plot that sits next to their main plot) in the heart of this Grand Cru represents 0.143 hectares.  Griotte-Chambertin Grand Cru: Chézeaux is the largest vineyard holder in this Grand Cru, with an impressive 1.264 hectares of vines, a parcel in the heart of this tiny appellation.  Spotlight on Griotte-Chambertin  Griotte-Chambertin, also known as En Griotte, is the smallest of the Chambertin Grands Crus, totalling 2.69 hectares (and is among the smallest Grands Crus in the Côte d’Or, along with La Romanée, La Romanée-Conti and La Grande Rue for Pinot Noir). It sits below Clos de Bèze on the slope, just below the Route des Grands Crus and sandwiched between Chapelle-Chambertin and Charmes-Chambertin, facing northeast. This aspect is important, allowing the vines here to ripen more slowly, not receiving as much morning sun. The wines made here tend to be more delicate, aromatic and perfumed, less muscular than is perhaps typical for the village of Gevrey-Chambertin, and therefore highly prized. Pebble-rich, chalky topsoil sits over deep, limestone bedrock, with more clay the further down the slope you go.  Domaine des Chézeaux is the largest owner of the site, with 1.246 hectares – almost half of the vineyard. Other producers who own vines here are: Joseph Drouhin (0.53 hectares), Fourrier (0.26 hectares), Claude Dugat (0.15 hectares), Marchand Frères (0.13 hectares), Joseph Roty (0.08 hectares) and Duroché (0.02 hectares), as well as now Laurent Ponsot (0.11 hectares) and an investor who has leased his small portion of the Grand Cru to Cécile Tremblay (circa 0.2 hectares). The origin of the vineyard’s name is disputed. Some argue that it comes directly from “griotte”, the word for morello cherry – tied either to trees that were once planted in the site, or as a reference to the character of wine it typically produces. Most, however, now suggest it comes from “criotte”, the diminutive of “crais”, referring to the chalky pebbles that are found in its soils.    Insider knowledge: Domaine des Chézeaux Griotte-Chambertin Historic bottlings of Domaine des Chézeaux Griotte-Chambertin have been something of an insider’s secret, as some are Ponsot Griotte-Chambertin under a different label. Some were the wine made by René Leclerc, and it’s not always possible to know which.  1982 to 1993 vintages inclusive: Domaine des Chézeaux only had their original parcel of Griotte-Chambertin during this time, and it was leased to Domaine Ponsot  1994: Reportedly, only one wine was produced under the Domaine des Chézeaux label in 1994 – the first vintage in which Chézeaux had their second parcel of Griotte, which was leased to René Leclerc. The wine from both parcels was blended together for the Domaine des Chézeaux bottling.   1995 to 2001 vintages inclusive: Two identical Domaine des Chézeaux bottlings of Griotte-Chambertin were produced during these years, with nothing on the label to indicate which producer made them.  2002 onwards: The producer of the Griotte-Chambertin is detailed on the Domaine des Chézeaux labels from the 2002 vintage. While there continued to be two bottlings up to and including 2004, from 2005 onwards, René Leclerc’s Griotte was only occasionally bottled by Domaine des Chézeaux, with the wine more often sold off in bulk. (The 2010 and 2011 vintages are the exception, with the Leclerc bottling returning to the Chézeaux line-up, but with the producer name detailed on the label still.)   The Ponsot wines also have the Ponsot name embossed on the bottom of the bottles. Laurent Ponsot retained the lease for the vineyard when he left the family domaine, 2017 onwards.   The future of Domaine des Chézeaux  While Domaine des Chézeaux has a surprisingly deep history for such a modern estate, it’s surely only the beginning. With a talented vigneron like Charles van Canneyt at the helm and such enviable vineyard holdings, quality at this address is only going in one direction – and we’ve no doubt the wines will soon be as hard to secure as anything else he produces.  Domaine des Chézeaux’s 2023s 2023 Gevrey-Chambertin, Clos des Chézeaux: This monopole vineyard covers half a hectare, with some of the vines almost 100 years in age (planted in 1929). Mid-slope and facing southeast, the village site has deep, clay-rich soils with gravel, sitting just below Premier Cru Cazetiers and neighbouring another monopole village site, Clos du Château, farmed and produced by Armand Rousseau. Charles van Canneyt noted how managing the surrounding woodland (in particular removing some trees) had totally changed the site – bringing better airflow and more sunlight to the vineyard. His first vintage is scented, with bright and lush dark red-berry fruit, alongside iris and violet florals. The palate is vibrant and juicy, but with a fine-grained grip – nubuck-like tannins that frame the fruit, while there’s a savoury, saline note on the long finish. 2023 Gevrey-Chambertin, Premier Cru, Les Cazetiers: The vines in the Domaine des Chézeaux parcel of Cazetiers are very old, lending additional intensity to this brilliant Premier Cru. The wine is delicate, with chalky minerality and delicate floral perfume that entices on the nose. The palate has an earthy minerality, but that’s complemented by beautifully transparent dark berry fruit. It’s firm in texture, with savoury mineral tannins that balance the wine’s natural juiciness. Effortlessly balanced, long and impressive. Five barrels were produced in 2023. 2023 Griotte-Chambertin, Grand Cru: Griotte-Chambertin is the jewel in Domaine des Chézeaux’s crown, with the largest holding of this small Grand Cru site – renowned for producing gloriously aromatic and elegant wines. Charles van Canneyt’s first vintage is seductive, with sweet spice and just the lightest touch of toast sitting alongside waves of supple red cherry fruit. The wine is bright – offering an instant intensity and fullness, plush and voluptuous, yet with effortless elegance. It’s tight at this nascent stage, but you can see how much more it has to offer, with a structure that deserves time. Smoky tones linger on the long finish. A superb début. *This wine is famously the one that got fraudster Rudy Kurniawan caught, after he was found selling older vintages of Domaine Ponsot Clos Saint-Denis, although the property didn’t produce the Grand Cru prior to taking on the Chézeaux holding in 1982.  Keep an eye out for the first wines from the new Domaine des Chézeaux, which will be released soon; in the meantime, read more about Burgundy 

In 2021, Charles van Canneyt – of Domaine Hudelot-Noëllat – purchased the little-known Domaine des Chézeaux. Ahead of the release of his first vintage, we dive into the backstory of this Gevrey-Chambertin property – one that is set to be one of the Côte de Nuits’s most exciting new addresses 

Everything you need to know about this Gevrey-Chambertin wine estate, now owned by Charles van Canneyt of Domaine Hudelot-Noellat  

The new Domaine des Chezeaux, Gevrey-Chambertin 

The new Domaine des Chézeaux       

Inside Burgundy – Jasper Morris MW  Published just in time for Christmas, Jasper Morris MW’s first instalment highlights how 2023 is “not like anything [he has] seen before” – with the largest crop on record, and the hottest year but the wines are not those of a hot vintage. He notes that “the white wines in 2023 are delicious”, accessible early and largely will be best drunk before the 2022s, with some notable exceptions with “the tension and tenacity to become really interesting”. It is, for him, “a very good white wine vintage, but probably not a great one”.  He deems the Pinot Noir more mixed, with “some absolutely lovely wines and some which just miss” – but most are “absolutely charming in an agreeably juicy style”. He has found a mysterious fault in some of the reds of the Côte de Beaune, lending an earthy taste and texture on the finish of the wines – and he has not rated these wines at this stage, choosing to revisit them in bottle. But, he emphasises, “don’t let that […] spoil your appreciation of all the other wines from this vintage” – with “delicious, fruit forward wines for medium term ageing”.   As for his early look at Chablis, he acknowledges that the region has changed – with the modern climate producing softer-styled wines that are “more fruit forward at least in their youth”, although “the best examples will absolutely still have the core character beneath”. While the generous yields of 2023 might be reminiscent of 2018, the wines show none of the dilution sometimes found in that vintage. The vintage is “more about pleasure than long term classicism”, he says, with the wines “charming, open and mostly well-balanced”, but the best will keep.  Read all Jasper Morris MW’s coverage and explore his notes and scores on his site (subscribers only)   Burghound – Allen Meadows  Allen Meadows started with his report on Chablis, the Mâconnais and the Chalonnaise. He highlights how the 2023 growing season was drastically different to that of 2022, and yet produced wines that are not a million miles away in style. He feels 2022 is better than 2023, “but not drastically so” – and states that when it comes to terroir transparency, “2023 might well have the edge”. The vintage is “a mixed bag”, he argues, with the reds more consistent than the whites, but with some excellent wines of both colours. For Chablis, he highlights “on the one hand, 2022 is a better vintage from a quality standpoint but 2023 is more interesting from a terroir standpoint”. He notes that the wines will be approachable young, and their natural balance will allow them to age well over the short and medium term. And, as Meadows says, “while there are certainly indifferent wines in both colours but when they’re good, they’re more than deserving of a spot in your cellars”.  For the Côte de Nuits, he acknowledges that the quality is “really variable”, with yield management the main driver in quality. There are, however, “many aromatically elegant, charming, and seductive wines” in 2023. The style, with “pliant tannins, good terroir transparency, and genuine depth of character”, is one that appeals to Meadows. Although the year is not consistent – and there are “plenty of disappointments” – there are also “good quantities of really lovely wines that should provide for delicious drinking early on yet be capable of amply rewarding mid-term cellaring”. The wines are not as concentrated as the likes of 2005, 2010 or 2020, he notes, but that doesn’t mean they’re dilute. He is one of many to emphasise 2023’s “charming” character – but without drifting into “banality”. The wines “belong in any serious Burgundy collector’s cellar” and the best are “genuinely wonderful for their sheer exuberance”.  Explore Allen Meadows’ reports, notes and scores on the Burghound site (subscribers only)    Decanter – Charles Curtis MW  For Charles Curtis MW, the 2023 vintage in Chablis is clearly good – just a touch behind 2022, earning a four-star rating (out of a possible five, versus 4.5 for 2022). He emphasises how important the harvest date was this year with the heatwave, key to preserving acidity, and this alongside yield control defined success. He emphasises that the Grands Crus delivered excellent quality, while Montée de Tonnerre and Vaulourent were stand-outs among the Premiers Crus on the Right Bank, while Montmains (especially Butteaux) and Vaillons delivered on the Left. The best wines, he says, sit alongside 2018, 2020 and 2022, “with ripe orchard and stone fruit, a lush texture, balanced acidity and plenty of extract”. They may not be as racy as the Chablis of yesteryear, but Curtis suggests that the best will age similarly to the 1999, and it is “a vintage that’s eminently worth stocking up on”.  Following on from his pre-Christmas Chablis focus, Curtis has published his full report on Burgundy 2023 – rating it four (out of five) stars for both red and white. With the challenges the year posed, he feels it’s less consistent than 2022, but still “a very good vintage”, with rare occasions where it’s “truly superb”. The wines are generally “very ripe” and approachable, with a “lush, drinkable style”, although he doesn’t feel they have the structure for long ageing, sitting just behind the 2022s qualitatively. More detailed coverage of individual villages is set to follow.  Explore Charles Curtis MW’s full report, notes and scores on the Decanter site (subscribers only)   Jancis Robinson – Matthew Hayes  For Matthew Hayes, 2023 offers a “near-repetition of the fine, balanced wines of 2022” – with wines that “will offer sustenance and satisfaction for lovers of (modern) classic, Burgundian Pinot Noir”. The fruit is “remarkably fresh and red-fruited”, with the wines fuller-bodied than the 2021s – although they are, he notes, not homogenous. The wines are those “vignerons wanted to make, rather than what nature made them make”, Hayes notes. He describes the whites as “generally lively, with a racy style matching ripe, mature fruit”. For him, the 2023 is a good vintage – one that sits alongside 2022 in terms of quality, with “deceptively open” wines that can be drunk while waiting for the 2019 and 2020s.  Explore Matthew Hayes’ report, as well as the entire team’s notes and scores on jancisrobinson.com (subscribers only)  Vinous – Neal Martin  “I adore the 2023 vintage,” declares Neal Martin. “I am hard pushed to think of another vintage so pleasurable from barrel,” he says. He emphasises how important it was to manage yields to avoid excess, with the year undoubtedly a “vignerons’ vintage” defined by actions in the vineyard. He finds the whites rounder in style, although not as richly fruity as those from 2018 or 2020. They are, he says, more traditionally styled, with good acidity levels that balance the richness of the year’s late summer heat. He notes that wines from limestone terroirs benefited from additional freshness, while Chassagne-Montrachet “continues to impress thanks to the cluster of talent that has emerged there in recent years”.  As for the reds, he considers them a combination of 2020 and 2017, feeling the wines are better than those of the latter year. It’s not a year to choose by appellation, but by producer – although he highlights Gevrey-Chambertin in particular as “a wellspring of great Pinot Noirs”, as well as the rising quality and value found in Marsannay. Some wines, he warns, lack concentration and can be a little lean, and it is less consistent than 2022. But, in general, “the reds convey a sense of transparency, more weightless than weighty,” he says, with wines that are fresh and crunchy, even if the acidity levels aren’t that high. While clearly set to be approachable early, he says, “they also have the balance and energy to reward the dwindling numbers who uphold the lost art of cellaring”. Among the best producers, 2023 offers “a veritable trove of white and reds that will drink earlier than their 2022 counterparts” – wines that are defined by their charm.  Explore Neal Martin’s full report, notes and scores on the Vinous site (subscribers only)  Wine Advocate – William Kelley Last out of the gate, William Kelley has finally proffered his judgement on the 2023 vintage – a year that is defined by its “abundance”. He finds the best to offer “demonstrative charm and immediacy”, but is clear that it “is not a vintage to buy blind”. Some reds show “dilution, elevated levels of volatile acidity and earthy, vegetal flavors”, and although the whites are more consistent, they can be “deficient in structure and cut”. The style of the wines varies significantly, he notes, and “whether growers picked before, during or after the September heat wave could deliver very different wines, ranging from light and vegetal to brooding and muscular”. He is clearly charmed by the best, however: “velvety, fleshy wines that are suave and sensual”, sweeter and often more structured than the 2017s, and not as ripe as the 2018s. As for the whites, he finds them generally “rich and flamboyant, with unctuous textures and sweet fruit” – and, “when they are united with good freshness and enlivening structuring dry extract, the results can be compelling”. He compares them to “a broader, more open-knit version of 2015”. Explore William Kelley’s full report, notes and scores on the Wine Advocate (subscribers only) Explore a selection of the critics’ favourite 2023 Burgundies  or Find all our coverage of Burgundy 2023 here.  

The critics have been busy in recent months, tasting up and down the Côte d’Or – and are now declaring their verdict on the 2023 vintage. Here’s your crib-sheet to what these leading names are saying so far about the latest Burgundy vintage

The leading Burgundy critics’ views on the 2023 wines – with a summary of what Neal Martin, Jasper Morris, Allen Meadows and William Kelley are saying

Burgundy 2023 – what the critics are saying 

Burgundy 2023: the critics’ verdict 

Old, low-yielding vines. I’ve written that phrase more times than I’d like to confess. But how much does it really mean when it comes to the quality of the wine in your glass? The 2023 vintage in Burgundy (read our full vintage report here) produced generous yields. In farming terms, that’s a good thing: a plentiful crop that restocks the cellars (and coffers). But the sheer volume of fruit (“a wall of grapes”, as Bouchard’s winemaker Frédéric Weber told us) posed its own challenge – and much of our time in the region’s cellars this year was spent diving into how they managed, or controlled, the yield. It seemed fitting, therefore, to address the topic in greater detail.  In the Old World, appellation rules will limit yields, with the yield generally decreasing as you move up the appellation system (see below a table detailing the maximum yields for Burgundy, for example). Of course, this indicates a relationship between yield and quality, implying less is better – and there is no doubt that excessive yields don’t produce fine wine. But how low is too low? There is a fashion for prizing vines that barely manage to ripen a bunch or two, but do they really make better wine than those producing a decent crop? Beyond our obsession with rarity, what are the consequences of less fruit per vine – and therefore, what does more entail? A note on measuring yield Before we get into the weeds of the matter, let’s address how we talk about yield. In the Old World, the most common measurement of yield is hectolitres per hectare (hl/ha), measuring the volume of juice or wine per hectare of vineyard area. In Champagne the standard measure is kilos per hectare and in Italy you may see reference to quintales per hectare (qt/ha or q/ha, with one quintal translating to 100kg), while in the US, producers are more likely to use tons per acre. We’ll dive further into the many variables here, but it’s worth highlighting that vine density isn’t taken into account by any of these measurements. Although a higher number of vines per hectare will generally mean a higher yield across the vineyard, the increased competition will also likely reduce the yield per vine. For this article, we have spoken to producers from a range of regions, but do note that yields are not comparable between varieties or region. Climate – with heat, sunlight and water availability, as well as the varying size of berries and clusters of any given variety, mean that there is no number that can be deemed a global average when it comes to yield. (Do look at this table compiled by the Wine Advocate’s William Kelley, comparing vine density, cluster weight and juice yields for various classic fine wine regions, to give you an idea of the differences between regions.) Given this, “high” and “low” yields aren’t equated to specific numbers here, but the concept discussed more broadly – and arguably more relevantly for those of us drinking wine rather than making it. Bearing all of this in mind, extremely approximate conversions can be made as follows: one tonne per hectare is approximately 7hl/ha, while one ton per acre is around 17.5hl/ha (Oxford Companion to Wine). Yields: how low is too low? “It’s not extreme mythology: low yields produce better quality,” Cerbaiona’s Matthew Fioretti tells me; for him, high yields risk dilution and sanitary problems – and at excessive levels, that is certainly true. But, as Myriad’s Mike Smith told me, the relationship is “not linear”. Mike Dunn (Dunn Vineyards) generally has low yields, but that’s not necessarily about concentration, he explains: it’s simply about how much they can ripen before winter hits. Up on Napa’s Howell Mountain, their poor soils and farming (avoiding irrigation and fertilisation where they can) naturally produce lower yields. He recently changed some of their Cabernet Sauvignon to cane (rather than cordon) pruning and, although they’re getting more fruit off the same vines, there’s been no loss in quality. “It’s all relative,” says Ivan Massonnat at Belargus in Anjou. He points to Saumur with its limestone soils, where producers can crop 45-50hl/ha without a problem, but on the schist soils that lie beneath his vineyards: “Forget about doing much more than 30-35hl/ha,” he says. And even that has proven challenging for him. In the seven vintages he’s produced at the estate, only two have come close to 30hl/ha, with the average around 15hl/ha, simply due to the challenges of each vintage. He’d have loved to crop more – but nature had other ideas, and vignerons have to adapt to the vintage. Massonnat explains how if you farm to produce yields that are overly low, you can end up with fruit that has high technical, or sugar, maturity, but isn’t yet phenolically ripe – leading to unbalanced wines. Smith echoes this, talking specifically about Beckstoffer Dr Crane, one of Napa’s legendary vineyards, which he finds likes to produce more – around five tons an acre (versus four in most of the vineyards he works with). He sees producers cropping to just three tons per acre there, and in warm vintages the fruit ripens too quickly for the phenolics to catch up. Philippe Bascaules – who was first appointed Estate Director at Ch. Margaux in 1990 – offers an interesting perspective, arguing that there’s no direct relationship between yield and quality. In Bordeaux in the 1970s, he tells me, yields were consistently low – 25-30hl/ha, with wines that were inconsistent. As the wines became more popular, with demand from the US in particular for the 1982 vintage, producers started aiming for significantly higher yields and chaptalizing much more. Soon, average yields had doubled to 50-60hl/ha – a level that was unsustainable, especially in challenging vintages such as 1992, ’93 and ’94. Gradually they implemented changes, introducing green-harvesting (in 1986 at Ch. Margaux) and reducing fertilisation levels in the 1990s. Today, he and his team aim for around 45hl/ha, “a good production” in his mind – but a level which also offers insurance against inclement conditions. Lowering yields is something that, for him, has brought greater consistency to both the estate and region across vintages – ensuring they can ripen the crop each year. Deliberately reducing the yield beyond this, however, wouldn’t offer any serious benefit, he says. Similarly, across the Durantou family’s estates on the Right Bank, including Ch. l’Eglise-Clinet, Noëmie Durantou Reilhac targets a yield of circa 42hl/ha. “The vine wants to produce fruit,” she says, “so if the yield is really, really low, something went wrong.” For her, it’s the balance that matters most. With very high yields, the resulting wines will lack concentration (“You cannot make in tanks what nature hasn’t done before,” she says), but equally if the berries are so small that there is barely any juice, you’ll have little but tannins left to work with. And, while hail or frost will reduce your yield, they won’t result in greater concentration. “I think it just comes down to stress,” Dunn tells me. And that’s a common thread for several producers, arguing that vines need to struggle to produce quality. As Sébastien le Golvet – of Champagne Henri Giraud, who works with the poor soils of Aÿ – says, “genii are born of suffering”. Suffering doesn’t always mean lower yields, however: arguably, Dunn says, in high-vigour sites, keeping higher yields will help increase stress, pushing the vine to work harder – and therefore produce higher quality. Elements impacting yield While it’s impossible for us to address every factor that influences yield, it’s worth – relatively briefly – highlighting a few additional influences beyond site (with poorer or richer soils), variety and vintage: Trellising: Trellising – the shape in which a vine is trained – can be used to control yield. At Cerbaiona, Fioretti emphasises how using alberello or bush vines is key to helping contain Sangiovese’s natural vigour. At Tiberio, Cristiana Tiberio’s oldest vines are pergola-trained, with a traditional Abruzzese system that encourages competition but also increases the canopy to aid photosynthesis and ripening. Vine material/rootstock: The material used in a vineyard is integral (as with Quinta do Noval’s Nacional vineyard, see below). Mike Dunn, for example, mentioned how one of his older vineyards was planted on St George rootstock, known for shatter and therefore limiting yields even further. Jean-Marie Fourrier (Domaine Fourrier) argues that the use of selected clones, rather than massal selection, has resulted in higher yields and the need to green harvest, something that he never does – aided further by the age of his vines (see below for more on this). Vine age: There’s no doubt that the element of vine age is conflated with yields and quality, with older vines often producing better fruit – but less of it. As Mike Dunn told me, the wines from his oldest vines are “more intriguing”, but at some point economics comes into play, and the level of production is financially unsustainable. It’s another non-linear relationship, however, as Durantou Reilhac explains: “Some 70-year-old grandmas can run and dance, and others are weaker.” Although most old vines will produce less fruit, she finds it’s far from uniform in her vineyards – and sometimes there will be young vines that produce less. Virus and millerandage: Virused vines will produce lower yields, and as with old vines, will reach a point where they are unsustainable. While on the surface virus is negative, certain producers do value the reduction in yield or slower ripening that is a result of disease – South Africa’s Hamilton Russell being one (with leafroll virus). Quinta do Noval persists with its own-rooted Nacional vineyard, suffering from phylloxera, with the vines slowly dying and yielding tiny volumes, to produce a particularly special and rare Vintage Port. Similarly, millerandage is a condition most commonly a consequence of poor weather at fruit-set, producing grape clusters with unevenly sized grapes, combining larger and smaller (or shot) berries – sometimes referenced as hen-and-chick. While this reduces yield, the phenomenon is sometimes valued for giving increased concentration to wine. Indeed, some particular clones – such as the Mendoza, Wente or Gingin clones of Chardonnay – are valued for their bunches with hen-and-chicks, and Bret Brothers, for example, even makes a special Cuvée Millerandée – with millerandée Chardonnay – from Les Quarts (a Pouilly-Vinzelles site recently awarded Premier Cru status). Cover crops: At Henri Giraud, Sébastien le Golvet feels that cover crops are essential to the quality of their fruit – and the yield. Sewn just before harvest, the cover crops provide competition up until flowering when they roll the grass mix, creating a bed that holds water and offers nitrogen to the soils, acting as a natural fertiliser – in a way both moderating then fuelling the vines’ growth. This is one hint at the extent to which the type of soils and level of organic matter, not to mention water availability, dictated by site and the farming methods, are all key. The previous vintage: There are two theories at play here. Firstly, conditions during what is known as the initiation phase of the vine cycle, which takes place alongside flowering, will dictate the yield of the following vintage. In 2023 in Burgundy for example, one of the factors in yield was that the spring of 2022 offered perfect conditions, laying the groundwork for 2023’s plentiful crop. As Sébastien le Golvet also explained, however, a large crop in one vintage can tire the vines, meaning they have less to give the following year. How wine producers manage yield The vine naturally wants to reproduce, to grow, ripen fruit and spread its seeds. Vignerons are tasked with taming the plant to focus its energies to develop fruit of concentration and complexity that will make fine wine. This is done in many ways, some of which include: Pruning: The first stage to set up the yield in an existing vineyard is pruning, leaving the appropriate number of buds per vine for the season ahead. The timing of this varies according to the producer, from December through to March, with later pruning helping delay the vine cycle, which is sometimes desirable. Alvina Pernot, for example, specifically pruned her vines shortly (ie to offer a lower crop) in 2023 to help the vines recover from the relatively high-yielding 2022 vintage. Lalou Bize-Leroy famously works with very low yields, and emphasises how important pruning is in this (Domaine Leroy harvested just under 30hl/ha in 2023, its highest ever yield – a number which would still be low by many producers’ standards). De-budding or suckering: In spring, producers will de-bud or sucker the vines, removing lateral shoots and providing further control of the potential yield, as well as the spacing and position of the crop. In 2023 in Burgundy, many producers emphasised how important this was. Hugues Pavelot described it as “drastic”, while Philippe Jouan passed through his vines twice. At Bouchard, Frédéric Weber explained how some of the buds produced two or three bunches in 2023 (rather than the normal one), meaning that even with extensive de-budding yields were very high. Green harvesting: Green-harvesting is the most discussed method of yield control, and one that divides producers. We spoke to several Burgundian vignerons who avoid it (Dominique Lafon, Jacques Devauges at Domaine des Lambrays, Philippe Jouan and Jean-Marie Fourrier, to name a few) – some of whom felt that they had no choice but to use the method in 2023, despite their best efforts. The reason against green-harvesting is that the vine will try to compensate, and that it can be avoided with managing the vineyard in other ways. That said, there are many top-tier producers that green-harvest, and feel it is key to the quality they produce (Ch. Margaux, Eglise-Clinet, Georges Noëllat and Olivier Bernstein, to name a few). And it’s not a decision that any take lightly, well aware that they are literally throwing away potential income. At Cerbaiona, Fioretti compares the vines to runners or cyclists – needing to carry as little weight as possible to get over the finish line. With Sangiovese, he finds it’s unavoidable, especially with the presence of “wings” or “shoulders” (smaller separate clusters that sit on the shoulder of the main bunch). The timing is key, and many producers emphasise the importance of green-harvesting early in the season. For Noëmie Durantou Reilhac, she aims to have this done prior to véraison to avoid twisting the stems (which would impact sap flow) and damaging the skins of the remaining bunches. She’ll do a final pass through her vineyards just before harvest, but this is a method of sorting rather than impacting the ripeness of the grapes on the vine. “There’s a certain point where you can reduce fruit, say a month away from picking, but it won’t do anything,” says Myriad’s Mike Smith. Like many producers, he favours green-harvesting mid-véraison to drop anything that is behind, helping even the ripeness of the crop – as Bascaules does at Ch. Margaux. In 2023, several Burgundy producers highlighted having to do multiple passes to reduce the crop – doing what was sometimes referred to as a “pink” or “blue” harvest on top of a green harvest. Canopy management: A vine’s leaves are its engine – responsible for photosynthesis. The larger the canopy, the larger the engine, therefore trimming the vine’s canopy can help lower its vigour, while keeping a larger leaf area can help encourage vigour. This needs to be considered alongside airflow (to avoid disease pressure) and shading of the bunches (which could delay ripening). If the canopy isn’t balanced with the volume of fruit, it can also negatively impact fruit composition – especially the acid make-up and development of colour and phenolics. Ivan Massonnat (Belargus) explained that in 2022 and 2023, for example, he used a high trellis, allowing a larger leaf area, to capture maximum light and photosynthesis to fuel the vines; but in 2022 he did the opposite, wanting to reduce the size of the “sugar machine”. It has, he notes, become common for large canopies to be used alongside low yields, especially by producers in Burgundy, something he feels has gone too far at certain addresses: “You can kill a wine with concentration,” he says. Some argue that trimming the canopy can encourage it to grow further, while others want to retain a large canopy to encourage root growth (Olivier Lamy feels that the vine has the same amount of growth above and below ground, therefore wanting to retain his canopy to the roots to drive deep into the soil). Lamy is one of a cohort of producers using “tressage”, or braiding, to tame the canopy – a technique pioneered by Lalou Bize-Leroy. For her the aim is to avoid cutting the apex (or growing tip) which would otherwise encourage the growth of lateral shoots. Producers such as Charles Lachaux have taken this even further, training vines to a single stake (more common on the steep slopes of Priorat, Côte-Rôtie or the Mosel) and weaving the shoots into distinctive arches.  The relationship between yield and quality is undoubtedly a tricky one – and one that every producer I spoke to feels is deeply complex. We couldn’t touch on everything here (the tiny yields for botrytised sweet wines, for example, or typically higher yields used for sparkling wine), but there’s plenty to consider. While it remains clear that excessive yields can produce dilute wines, with so many variables play, it’s also clear that less isn’t always better. Read more Editorial

Burgundy’s vignerons were blessed with quantity in 2023, but – when it comes to making fine wine – how much is too much? We spoke to a host of top producers to find out if low yields really do mean better quality

Do low yields really mean better quality when it comes to wine? We talk to Ch. Margaux, Cerbaiona, Eglise-Clinet, Belargus, Dunn, Myriad and more to find out

Understanding yield and quality in wine

Yield and quality: is less really more?

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