Inside Burgundy – Jasper Morris MW  Côte de Beaune  Jasper Morris MW’s first assessment of Burgundy 2024 reveals a vintage of extreme adversity yet unexpected classical poise, particularly for whites. An “exceptionally wet year,” marked by poor flowering, mildew pressure, and limited sunshine, made 2024 one of the most challenging recent seasons. Conditions worsened moving north, with the Hill of Corton and northern Beaune hardest hit, while mid-slope vineyards benefited from better drainage and earlier flowering. Harvest was tightly compressed between 12–16 September.  Despite the difficulties, Morris calls 2024 “much more applicable” as a return to classic Burgundy than 2021, especially for whites, where quality is “relatively homogenous” and characterful. He found wines defined by citrus, fresh apple, and, at their best, “rapier-like acidity” and tension. These whites will be “accessible early,” though he warns buyers to avoid those lacking backbone and energy.  Reds are more mixed and occasionally fragile, yet the finest examples show charm and harmony. Morris highlights “aromatic pinots that could make you smile at first sniff,” with unusually refined tannins, aided by a return to a classical 100-day ripening cycle. Village wines and well-managed premiers crus represent the sweet spot of the vintage.  Chablis  Chablis faced the harshest conditions in 2024: floods, frost, hail, and relentless rain, with total rainfall reaching 634 mm and many organic producers harvesting below 10 hl/ha. Some, like Guillaume Vrignaud, “made hardly any wine and sold it off.” Morris expected “green… ugly and flawed” wines but found most were sound and “less fragile than their 2021 counterparts.” While few are truly great, many show classic Chablis character—crisp, defined, with “crushed oyster shell” notes. Best for short- to medium-term drinking, 2024 in Chablis demonstrates resilience and surprising drinkability after a punishing season.  Côte de Nuits  In the Côte de Nuits, Morris sees 2024 as a vintage of delicacy rather than power. Harvest ran 12–16 September, with Nuits-St-Georges hit hard by rain and further north affected by uneven conditions and hail. Losses came mostly from coulure rather than mildew, especially around Gevrey-Chambertin. Whole-bunch fermentation and reduced stem use were key, and while some wines need time to integrate, many show light, perfumed character. “If you like dark coloured powerful wines… there is nothing here for you,” notes Morris. Only 2% of wines achieve top accolades, making careful selection essential.  Explore Jasper Morris MW’s reports, notes and scores on his site (subscribers only)  Vinous – Neal Martin  Neal Martin portrays 2024 as a season of extremes, where relentless rain, frost, and mildew tested every winemaker. Flowering was uneven, yields sharply reduced (Pinot Noir suffered most) and frost damaged parcels from Marsannay to Clos de Vougeot. As one winemaker reflected, “Each day in the vineyard felt like a battle,” capturing the relentlessness of the season. Tiny harvests demanded meticulous vineyard work and careful vinification, with whole-bunch decisions critical: “2024 was not a vintage to play recklessly with stems.”  A sunny, warm August offered salvation, allowing grapes to reach phenolic ripeness. Martin notes it “enabled some to capture the brightness and freshness of vibrant red fruit where Pinot Noir reaches its apex” and lent Chardonnays “razor-sharp tension and delineation.” Whites show energy and mineral clarity, while reds are delicate, transparent, and expressive rather than powerful.  Despite the challenges, skill and perseverance triumphed. Careful vineyard management and thoughtful vinification produced wines of elegance, freshness, and charm. As Martin concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Neal Martin’s reports, notes and scores on the Vinous site (subscribers only)  Burghound – Allen Meadows  Allen Meadows’ Burghound report describes 2024 in the Côte de Nuits as a vintage of extreme difficulty and delicate character. Following “rain, rain, and yet more rain,” growers faced poor flowering, rampant mildew, and historically tiny yields, with clusters sometimes reduced to 15–20 berries. Meadows notes that “the variability in 2024 is that of 2023 squared,” making disease control, rigorous sorting, and careful vinification essential to preserving quality.  Despite the challenges, the best wines are “ultra-fresh, wonderfully energetic, impeccably well-balanced and the most transparent reds we’ve seen since 2010.” Alcohol levels are modest, around 12.5–13%, enhancing clarity and finesse rather than weight or power. Harvest ran from 16–21 September, slightly later than the traditional 100-day rule, allowing vines to achieve ripeness amid persistent rainfall.  Vinification emphasized restraint: light extraction, reduced stem use, and careful temperature control preserved purity and avoided harsh tannins. Minor faults, mostly reduction from copper or sulfur sprays or slight volatile acidity, rarely detract. Meadows notes some wines are “too skinny or too lean,” but the best display crystalline transparency that “puts the intrinsic terroir on parade.”  Most wines suit mid-term cellaring: villages and premiers crus are approachable in 4–8 years, while top grands crus can age 10–15. Stylistically, 2024 reds are elegant and energetic, rewarding careful selection in a year of extreme variability.  Explore Allen Meadows’ reports, notes and scores on the Burghound site (subscribers only) Jancis Robinson – Jancis Robinson Jancis Robinson MW sums up 2024 as “nightmare… misery… exhausting… unremittingly grim,” with “gruesome” final yields. Heavy rain and unusually low temperatures during flowering severely damaged Pinot Noir, particularly in the Côte d’Or, while Chardonnay fared slightly better. Many vignerons abandoned organic viticulture for systemic sprays to save their crops. Pierre-Yves Colin-Morey achieved “respectable, but most unusual for 2024” yields of 35–40 hl/ha only by switching early.  Losses were severe: reds down up to 80%, whites about 30%. Robinson notes that “the cool summer meant acidities were high, and successful reds could be described as pretty, but never concentrated,” with pale color and barely perceptible tannins. Late August brought some warmth, raising sugar levels, though many producers still had to chaptalise. She warns this is “a vintage to drink relatively early,” emphasizing elegance over opulence, fragility over power.  Cellar work was complicated by tiny harvests. Half-full tanks increased the risk of oxidation or stuck fermentations. Oak use was moderated, though some grands crus required up to 50% new barrels to fill them. Extraction and whole-bunch fermentation were carefully managed, with co-fermentation across parcels common.  Despite the challenges, Robinson highlights successful producers including Bertrand Bachelet, Yvon Clerget, Comte Armand, Philippe Colin, Sérafin, and Joseph Drouhin. Regions south of the Côte d’Or fared better, producing more generous, sophisticated wines. She frames 2024 as “a triumph of resilience over nature,” rewarding careful selection and precision in the cellar.  Explore Jancis Robinson's reports, notes and scores on her site (subscribers only) Jancis Robinson – Matthew Hayes  Matthew Hayes describes 2024 as a vintage “all over the shop,” marked by extreme scarcity, mildew pressure, and uneven quality across the Côte d’Or. Some estates, like the newly launched Domaine Henri Rebourseau, produced nothing, while others managed only tiny parcels. Yet Hayes notes, “producers actually had some wine; the second relief was that these had turned out better than feared.” Quality varies by village, vineyard, and even row, making careful selection essential.  The season was relentlessly difficult. Pinot Noir struggled with coulure, millerandage, and mildew, while Chardonnay fared slightly better thanks to earlier flowering. Organic producers faced doubled labor and costs, with some switching to synthetic sprays to save their harvests. Final yields were punishingly low, with red grape losses up to 85%. Harvest began in mid-September, balancing ripeness with botrytis and powdery mildew risks.  Winemaking focused on tiny lots, cautious extraction, and moderate oak. Reds are elegant, medium-bodied, and dominated by red fruit, while whites show precise acidity and finesse. Hayes notes, “This is not the Pinot Noir we have recently come to expect.”  Scarcity keeps prices high, yet the best wines are balanced and surprisingly drinkable. As Hayes concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Matthew Haye’s reports, notes and scores on the Jancis Robinson site (subscribers only) Decanter – Charles Curtis MW Pommard & Volnay 2024: Early-drinking Pinot Noir   Charles Curtis MW highlights Pommard and Volnay as the standouts in 2024, a vintage where Pinot Noir struggled across Burgundy. The northern Côte de Beaune largely avoided the worst rain and mildew, producing wines with the lush, supple fruit the region is known for. Pommard ranges from firm and tannic to approachable, while Volnay shows silky, expressive character.  Yields were exceptionally low: Paul Zinetti of Comte Armand recorded just 15 hl/ha, and Paul Négrerie of Château de Pommard 14 hl/ha. Careful extraction was key to avoid green tannins, producing wines of elegance over ripeness. Frédéric Lafarge notes that Volnay’s 2024 shows purity and terroir expression, comparing it favorably to 2021: “2024 showed more finesse and complexity due to the longer vegetative cycle.” Overall, the vintage is lighter than usual, suited to earlier drinking, though the best wines from top producers can age five to ten years.  Best Value Burgundy 2024 Wines   Finding value in 2024 requires a selective approach, as low prices rarely coincide with scarce wines. Curtis recommends starting with regional appellations, particularly the Hautes-Côtes of Nuits and Beaune, where top performers include Bourgogne Hautes-Côtes de Nuits Les Dames Huguette (Dufouleur) and Bourgogne Hautes-Côtes de Beaune blanc (Guiton).  Further south, the Côte Chalonnaise offers excellent options, with Maison Chanzy (Bouzeron), Domaine Belleville (Rully), Château de Chamirey (Mercurey), and Domaine du Cellier aux Moines and Domaine Stéphane Aladame (Givry/Montagny) standing out. Curtis also praises the Mâconnais for Chardonnay, noting “bright acidity, fresh fruit, and solid structure,” with Pouilly-Fuissé in particular shining.  In short, 2024 may be small in volume, but careful exploration of Pommard, Volnay, the Hautes-Côtes, southern Burgundy, and the Mâconnais reveals wines that combine quality, typicity, and attractive drinking windows.  Explore Charles Curtis MW’s reports, notes and scores on the Decanter site (subscribers only) Wine Advocate – Kristaps Karklins
 Kristaps Karklins portrays 2024 in Chablis as a season of extreme attrition, marked by frost, hail and what he calls “historic mildew pressure—among the highest ever recorded.” Yields dropped by “60% to 70% on average,” with some estates losing entire crus, including Dauvissat’s Séchet, Montée de Tonnerre and Les Clos. By late August, rainfall had reached “around 600 millimeters, compared with the average 380,” making healthy fruit scarce and rigorous sorting decisive. Growers who waited to harvest were rewarded with “greater texture and mid-palate amplitude,” while early picking risked under-ripeness and dilution.  Despite the hardships, barrel tastings reveal notable successes. The finest 2024s are “classical Chablis,” defined by tension, clarity and site transparency, and approachable earlier than most vintages. While they cannot rival the concentration of 2023 or 2022, Karklins suggests they may delight purists more than a random selection of riper years. “No one would call 2024 a historic vintage,” he concludes, yet among the best producers the wines are “unmistakably, even nostalgically Chablisien,” rewarding careful selection with freshness, character and authenticity.  Explore Kristaps Karklins reports on the Wine Advocate site (subscribers only) Wine Advocate – William Kelley In a shorter spotlight on Verget and Domaine Guffens-Heynen, William Kelley describes 2024 as wetter and more overcast season following the warmth of 2022 and 2023, though mercifully spared the frost damage that scarred 2021 and 2016. Volumes are reduced, but quality is “solid,” and some wines “transcend the vintage,” reaching levels of maturity that are unusual for such a challenging year. Jean-Marie Guffens likens the domaine’s 2024s to 1998, a vintage that performed better in the Mâconnais than in the Côte de Beaune.  The true stars for Domaine Guffens-Heynen, however, are the bottled 2023s. Kelley ranks 2023 alongside 2020 as one of the finest vintages for domaine in the last 10 to 15 years and among the best of Guffens’s career. If the 2020s are “almost neoclassical” in style, the 2023s are more flamboyant, setting up a compelling contrast between two outstanding expressions of the domaine that will invite comparison for decades to come.  Explore William Kelley’s reports, notes and scores on the Wine Advocate site (subscribers only) Discover and shop the releases from this year's vintage or read the rest of our coverage of Burgundy 2024 here

The critics are starting to declare their verdict on the 2024 vintage. Here’s your crib-sheet to what the leading names, including Jasper Morris MW, Neal Martin, Allen Meadows, Jancis Robinson, William Kelley and more are saying about the latest Burgundy vintage.

Discover expert insights on Burgundy’s 2024 vintage from the top industry critics. Your essential guide to the latest vintage verdicts.

Burgundy 2024 – what the critics are saying

Burgundy 2024: the critics’ verdict

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

Colin Scott should be one year into his retirement. After 47 years at Chivas Brothers, 31 of which were spent as the Master Blender, he should be enjoying a well-earned rest. Instead, the ebullient Scott is lighting up the screens of the FINE+RARE team as he talks about a certain 50-year-old blended whisky he has created for remarkable spirits curators The Last Drop Distillers.   “It’s just fantastic to come to The Last Drop and find these nuggets of gold and all these wonderful casks of very precious liquid that have phenomenal complexity and flavour,” Scott says with unabashed glee.   Despite his near-50 years in the whisky industry, this is only the second 50-year-old blend Scott has had a hand in producing. Well-aged whisky was, until relatively recently, only a small part of Chivas’ business.   “By the time we’d filled a cask and it had matured to 12 years, most of that went into Chivas 12. Once it reached 21 years old, we put it all into Royal Salute. So, there was very little maturing. But of course, as time goes on, the stocks have been held back and the super-premium part of the inventory has grown.”   Scott joined Chivas Brothers in 1973 and became their fifth Master Blender in 1989. But he would have to wait a further 13 years before a 50-year-old whisky project presented itself. The result was The Royal Salute 50 Year Old, released in 2002 – a dual commemorative bottling for Queen Elizabeth II’s coronation and Royal Salute’s 50th anniversary.   Today he’s talking about his latest 50-year-old creation, The Last Drop’s 22nd release and first in-house whisky: a 50-year-old blended Scotch. After a whole three months as a man of leisure, the “retiree” joined the Sazerac-owned company as their first Master Blender in autumn 2020.   “When I joined in September last year, it was really the beginning of finding out what all these nuggets were within the inventory. Sorting through the very special and remarkable casks and finding out a little bit about what they were and what they did and how we could bring them together.”  Scott explains that everything in the blend started out as either a single malt or a single grain whisky, distilled at different distilleries around Scotland over 50 years ago. “At various stages along the way, blends have been made but then of course the balance has been put into cask and stored away for further maturation. So, what we have is a mixture of some of these malts and grains, all with their own unique characters and flavours, that we bring together at the last moment.”   Tasting the blended whisky alongside Scott is like being escorted on a journey back through time – to an age when a lot of distilleries were doing their own maltings and adding peat to the kiln to get a little smoky flavour.   “To me, blending is all about taking the flavours and then balancing them,” he says. “What you have here on the nose is a tsunami of flavour. But, when you taste it, nothing actually lingers and stays on top.”   Scott encourages tasters to add water to remove the aggression of the alcohol and maximise the release of the aromas and characters. When he is tasting more than 50 samples around a nosing table, this trick is vital to reduce all the whiskies to 20% alcohol and allow the flavours to present themselves.   In the case of The Last Drop 50 Year Old, its mellowness, richness and depth means you don’t necessarily need to cut the 48% dram.    “When we blend, we don’t add something, sniff it and then add a bit more of that. What we do is actually write down the whole formula in its entirety. We then pilot blend it. When we add the last addition, it will change the balance of everything you have already. So, you don’t know the final answer until you add that last part of the formula. And then once you’ve got them all together you can evaluate what you have actually created.”  For Scott, the act of blending and evaluating is an entirely personal thing. “All whisky – grains, blends – are fantastic. They are all different and they all bring their own song to the party. The only reason one is better than other is your own personal experience.”   Scott, for instance, isn’t “a fan” of the smoky Islays. “I don’t think they’re bad,” he adds. “It’s all about personal taste. There’s not a bad whisky in the world.”  The Master Blender talks at length about whiskies having different personality traits that require nurturing and, ultimately, respect.   “If you take a single malt as distillate at birth – that has a flavour package. It’s like you when you’re born – you have a character. If you put that new distillate into a cask, over the years this distillate will react with the oak in the cask and take influences and nuances which will then promote other flavours in the new spirit.  “So as time goes on, the volume actually goes down, the strength goes down, but that flavour package actually intensifies and intensifies and multiplies and multiplies.”   When it comes to age, there is some debate about how old you can go. For Scott, the 50-year-old is undoubtedly a rare beast, but he doesn’t see any reason why you can’t go older and rarer if the whisky has been sufficiently nurtured.   “If the angels didn’t interfere, in a quality cask, you could take it to 60-, 70-, 80 years,” he says. “If you’ve got quality casks, you don’t get that wood influence. You get a little touch of the oak but what you have at the end of the day is this small amount of highly intense, complex flavoured whisky that started as the new distillate and just grew with all the different influences from the oak and the cask whether it is Sherry or Bourbon.”  While there have been scientific advancements during Scott’s career, he says there are still a great many unknowns about the maturation and flavour process, and you get the impression this only adds to the allure for him.   “Because it’s nature, we don’t actually know what’s going on,” he adds. “It’s massively complex and the technical people still don’t know the number of components in Scotch whisky. I think they’re up to about 800 now. When I started there were about 200.”   Regardless, you sense Scott will continue to do what he does best: respect, nurture and blend remarkable liquids – retirement be damned.   Browse all Last Drop listings or read more Editorial 

As he approaches his 50th year in the industry, Colin Scott tells Holly Motion about the allure of well-aged whisky and plundering The Last Drop’s remarkable spirits inventory 

The Last Drop Distiller's Colin Scott on the allure of well-aged whisky and his new role plundering the independent bottler's archives.

Bewitching blended whisky

The bewitching blend

William Kelley + Yohan Castaing – Wine Advocate  Once again, the Wine Advocate’s Bordeaux en primeur coverage is shared by William Kelley and Yohan Castaing, with both providing scores, but Kelley writing the publication’s report. It’s telling that the highest potential score given for any of the 2024s is 94-96, with over half of the wines sitting below 90: in Kelley’s words, the year – which “tested growers’ limits” – “has produced few compelling wines”. Although there are some “notable successes”, the duo he feels that this is “clearly Bordeaux’s weakest vintage of the last decade”, with many wines that are “dilute, herbaceous and tart”.  The year is not homogenous, and Kelley attributes this simply to ripeness levels. He argues that those producers who “dared to wait” to harvest were rewarded. He is clear, however, that no particular variety or sub-region fared particularly better in 2024, with the year only able to be judged at a producer level. The best 2024s are, for Kelley, “intensely flavored middleweights with good structure and energy, exhibiting integrated acidity and ripe tannin”. Although the worst have acidity that can be “shrill”, with “astringent tannins and overt pyrazine character”, some – largely from early-ripening sites harvested late – “possess a density and mid-palate amplitude that transcends the year”. The vintage is, however, “a throwback”, closer to those of the 1990s than anything more recent. Elevage should help flesh out some of the wines, but Kelley is cautious of the wines’ fragility – and anticipates it “will only amplify the gap between the best and the rest”.  Kelley’s highlights: Cheval Blanc, La Conseillante, Pontet-Canet, Les Carmes Haut-Brion  Explore Kelley’s full report, notes and scores on the Wine Advocate (subscribers only)    Jane Anson – Inside Bordeaux  For Anson, 2024 exceeded her expectations: although there are, she acknowledges, "many disappointing bottles", the vintage is better than 2013 and – in the best cases – than 2021. She feels there are “more overall successes on the Right Bank than Left, simply because underripe Cabernet is very difficult to mask”, and generally speaking second wines don’t come recommended this year, with a notable step in quality. In the best reds, the acidity lends “juice, muscles and salinity”, with the Médoc offering linear, “floral, fragrant, nuanced” Claret. She highlights the quality of Saint-Julien in particular, and notes that there are “many excellent wines” in Pauillac, while Saint-Estèphe is more varied.  The Right Bank produced her wine of the vintage – Eglise-Clinet – but she notes how Pomerol is varied, with some successful wines that are “fabulous, lifted, aromatic, great quality” and some that are less successful, generally with the best hailing from the inner plateau. In Saint-Emilion, she notes how the limestone’s natural austerity needed to be managed – but “there are many tasty, successful if slim wines” in the appellation.  She emphasises the quality of the whites in the vintage, both sweet and dry, with “greater consistency and many excellent wines”. The dry whites offer great aromatics, but don’t have the density of the best wines, hence her ceiling on scores. She describes the sweet wines as “less luscious than the 2022s and 2023s”, but with “many balanced, delicious wines that are full of pleasure”.   Anson’s highlights: Eglise-Clinet, La Mission Haut-Brion Blanc, Coutet, Pavillon Blanc, Les Champs Libres, Margaux, Léoville Poyferré, Brane-Cantenac, Ausone, Laroque, Couvent des Jacobins, La Prade, Vieux Château Saint André, L’If, Pagodes de Cos Blanc, Rieussec, Suduiraut, Clos Albus, Les Hauts de Smith Blanc, Les Charmes-Godard  Explore Anson’s full report, notes and scores on Inside Bordeaux (subscribers only)    Antonio Galloni – Vinous  Galloni is the first of the two Vinous writers to publish their report on 2024 Bordeaux. Although he admits the wines are “all over the place in terms of quality and style”, he also feels that “the very best wines have a lot to offer”. After all, “Weather is no longer the critical element in determining the quality of wines and therefore a vintage.”  He emphasises how key élevage will be in the wines’ development, expecting “a very high level of variability in the finished wines” – feeling, as per the title of his report, that many of the wines sit on a “razor’s edge”. Galloni describes the 2024s as aromatic, leaning towards red fruit, with the best “exud[ing] balance” – although some can be “excessively light”, making for a “frustratingly erratic vintage”. It is, however, “far from the total disaster” suggested. For him, it’s a year where the Left Bank and Cabernet thrived, highlighting the wines of Saint-Estèphe and Pauillac, and finding those of Pomerol and Pessac-Léognan the most variable.   He emphases the quality of the dry whites in 2024, which are “some of the finest” in the vintage and can be “truly exceptional”, while also offering relative value. As for the sweets, they are – for him – very good, but not outstanding, not having the “thrill factor of the very best years”.  Galloni’s highlights: Beychevelle, Clos Puy Arnaud, Cos d’Estournel, Jean Faure, Larcis-Ducasse, Lascombes, La Conseillante, Rauzan-Ségla  Explore Antonio Galloni’s full report, notes and scores on Vinous (subscribers only)    Neal Martin – Vinous    Following on from Galloni’s report (above), Neal Martin covers the growing season defined by its “biblical” amount of rain. He feels 2024 is “a good vintage with limitations”, noting that the wines are inconsistent and the “maleficent season… widens the divide between the haves and have-nots”. He emphasises that those who triumphed had not the best terroir, but “the deepest pockets and those who made the right decisions at the right times” – and even then, it is “a growing season that is impossible to transcend”.  He, like others, notes how different the vintage would have been just a couple of decades ago, noting that it is “unequivocally far superior” to the likes of 1984, 1992 or 2013. Although it is not consistent, he admits there are wines that “touch the sky”, and the best are “pretty” – offering “delineated and focused” aromatics, balanced wines in which a “spine of acidity lends poise”, with “ample freshness and sapidity”. They are, he writes, “ideal restaurant wines that will provide easy-drinking pleasure whilst you wait for the 2019 or 2022s to mature”.  Martin highlights the quality of the dry whites – with cool conditions producing “riveting, tensile Sauvignon Blanc/Sémillon-based wines that often trump their red counterparts”. As for Sauternes, he reports that they are very good, but not classically opulent, instead “full of freshness and purity”.  Neal Martin’s highlights: Vieux Château Certan, Lafleur, Eglise-Clinet, Lafite Rothschild, Margaux, Montrose, La Mission Haut-Brion Blanc, Domaine de Chevalier Blanc, Malartic-Lagravière Blanc, Le Blanc de Lafite, Les Champs Libres, Doisy-Daëne, Coutet, Guiraud, Suduiraut  Explore Neal Martin’s full report, notes and scores on Vinous (subscribers only)    James Suckling  For James Suckling, tasting 2024 was a nostalgic experience – reminding him of “modern renditions of years such as 1985 or 1995”. Although he feels it is among the most heterogenous vintages he’s tasted, he describes the top 2024s as having “fine tannins and a crunchy, bright character”, “linear and fresh” with “vivid acidity”, noting that they’ll be approachable early. The best, he believes, come from early-ripening sites with the large teams necessary to tackle the year. He feels the dry whites, meanwhile, are very good to excellent – with Haut-Brion Blanc and Pavillon Blanc both among his top-scoring wines.  Suckling’s highlights: Haut-Brion Blanc, Evangile, Lafleur, Latour, Pavillon Blanc, Angélus, Ausone, Cos d’Estournel, Haut-Brion, Eglise-Clinet, La Mission Haut-Brion, Léoville Las Cases, Les Carmes Haut-Brion, Margaux, Mouton Rothschild, Pétrus, Smith-Haut-Lafitte Blanc, Vieux Château Certan  Explore James Suckling’s full report, notes and scores on his website (subscribers only)    Lisa Perrotti-Brown MW – The Wine Independent  The headline for Lisa Perrotti-Brown MW is that the best reds in 2024 are “lighter-bodied, soft-textured, refreshing and perfumed”, while there are “many spectacular dry white wines and small quantities of excellent wines from Sauternes”. She notes how the wines generally have ripe tannins, but flavour ripeness was more challenging – and has resulted in “a lot of good, delicious, drinkable, if not awe-inspiring, reds” although “many don’t have the flavor layers or intensity of a truly great wine”.  One thing shines through for her: “Quality levels are all over the show.” She, like us, feels the Right Bank is more consistent and notes that “many elegant, bright, refreshing, soft-textured and perfumed wines” come from Saint-Emilion and Pomerol. On the Left Bank, she finds that quality drops away as you move away from the gravel terraces and the finest terroirs, although many Classed Growths produced wines “worthy of their status” if in a lighter style than recent years.  The dry whites are, for her, “the silver lining” of the vintage – noting their consistency and quality. She finds that many have “an effortless sense of harmony”, the aromatics and acidity preserved by the cooler conditions. She highlights a number of dry whites to look out for – noted below. Quality in Sauternes and Barsac is “excellent”, she writes, feeling the acid backbone injects “vivacity” into the wines, bringing greater balance versus warmer vintages. The best have “great flavor intensity, plenty of botrytis-instilled complexity, and racy backbones” – and are wines well worth seeking out.  Lisa Perrotti-Brown MW’s highlights: Figeac, Haut-Brion Blanc, Smith Haut Lafitte Blanc, La Mission Haut-Brion Blanc, Pavillon Blanc, Eglise-Clinet, Montrose, Trotte Vieille, Pape Clément Blanc, Domaine de Chevalier Blanc, Valandraud Blanc, D’Aiguilhe Blanc, Larrivet Haut-Brion Blanc, Suduiraut Pur Sémillon, Les Champs Libres, Cos d’Estournel Blanc, Lespault-Martillac Blanc  Explore Lisa Perrotti-Brown MW’s full report on The Wine Independent (subscribers only)    Georgie Hindle – Decanter  Decanter’s coverage is being gradually released, and so far includes a report on the growing season, as well as an early look at the styles the year produced. Georgie Hindle says it is closest in style to 2021, looking at recent vintages, however highlights the drier, warmer summer which differentiates it. She emphasises that the year is not uniform, and the wines are generally shaped by a “taut, mineral freshness” rather than fruit depth or opulence. She says the best “offer flashes of aromatic precision, elegant and refreshing clarity with structure and length” – they “achieve balance between fruit, acidity and tannins”. Many are weak or thin and – as we and others have emphasised – you cannot generalise this year – and it shouldn’t be one you write-off, she urges.   She doesn’t feel that the dry whites fared better than the reds, with results similarly mixed – but some successful wines that are aromatic and appealing. As for the region’s sweet wines, they offer “an easy drinkability” but don’t all have “the density and consistency of stronger vintages”.    Explore Georgie Hindle’s coverage on Decanter (subscribers only)     Colin Hay – The Drinks Business This is the first year we’re including The Drinks Business. A trade publication, it has been expanding its coverage of Bordeaux and relatively recently started scoring wines, all tackled by Colin Hay. Despite the challenging growing season, he argues that “those with both the resources – human and financial – and above all the acumen to respond to its trials and tribulations have triumphed”. Although at the lower end of the quality tree, he finds the wines disappointing and the vintage far from even, he writes that “at the top of the pyramid” there are “wines that transcend the challenges of the vintage” – “fully ripe, elegant, refined, highly aromatic, with soft, delicate, finely grained tannins and a succulence, clarity and brilliance that is rare indeed”. He finds them “remarkable” – even without the context of the year. Although they don’t reach the heights of 2019, 2020 or 2022, he feels the wines can be favourably compared to other recent vintages – indeed, he feels the best sit above wines from 2001, 2002, 2003, 2004, 2006. 2007, 2008, 2011, 2012, 2013, 2014, 2017 and 2018. He writes that although the wines are “likely to be highly accessible in their youth”, they “still have quite significant ageing potential”. He is another to feel the vintage is slightly stronger on the Right Bank, and rave about the whites (“unique and spectacular”, “an undoubted highlight of the vintage” that he puts on a par with 2017 and 2021) and the sweets (although he confesses these are less consistent). Although there are exceptions, Pauillac is “the least flattered by the vintage”, and can be austere. He found that estates in Saint-Estèphe seemed to embrace the vintage, finding several highlights – including Montrose, “a wine of staggering depth and originality, yet also of an ethereal and aerial beauty and profound aromatic complexity”. In Saint-Julien, he finds “a reassuring sweetness to the fruit and a nutty creaminess”, coping with the vintage better, as Margaux also did, offering much “charm and typicity”. He finds the reds of Pessac-Léognan and Graves especially heterogenous, although he feels people will remember the vintage for its whites.  On the Right Bank, Hay finds that the best of Pomerol “indicate nothing of the difficulties of the growing season”, with elevated proportions of Cabernet providing “additional aromatic lift and florality”. In Saint-Emilion, he also discovers many vintage-transcending wines, “far more homogenous” than expected, especially versus the Left Bank, and many of them sit within its classification system – suggesting it is “an impressive guarantor of quality to the consumer”.  Colin Hay’s highlights: Mouton Rothschild, Montrose, Cos d’Estournel, Gruaud Larose, Palmer, Lafleur, Le Pin, Petrus, Eglise-Clinet, Trotanoy, Bélair-Monange, Rocheyron, Cheval Blanc, Figeac, Angélus, Beauséjour, Larcis-Ducasse, Pavie, Les Carmes Haut-Brion, La Mission Haut-Brion Blanc, Smith Haut Lafitte Blanc, L’Extravagant de Doisy-Daëne, Lafaurie-Peyraguey, Suduiraut Explore Colin Hay’s full report, notes and scores on The Drinks Business Jeb Dunnuck Although 2024 was a difficult vintage, it produced “charming, mid-weight, forward, moderately concentrated wines”, writes Dunnuck. He compares quality to 2021 but with more “openness and suppleness”, feeling it is neither a Left or Right Bank year, but one that needs to be analysed by estate. He does feel, however, that Pessac is “a shining gem in the vintage”. The wines are about “approachability over density”, and the Merlot-driven wines of the Right Bank show their terroir well, while Pomerol is darker in style. On the Left Bank, similarly, they are not blockbusters, but – he says – they “will certainly appeal to those who pine for the yesteryears of the 1980s and 1990s”, and will “unquestionably offer ample drinking and longevity”. He suggests they may follow a similar trajectory to the 2001s, wines “drinking beautifully today” – and some “have a balance and harmony that might surprise”.  As for the whites, although there are “some brilliant whites”, it is not universal – a good rather than great vintage. And that is trye for the vintage across the board, in his mind, selective buying is advised, but there are some good wines worthy of attention. Jeb Dunnuck’s highlights: Figeac, Haut-Brion, La Conseillante, Lafaurie Peyraguey Coeur de Terroir, Pavillon Blanc, Mouton Rothschild, Pape Clément, Suduiraut, Suduiraut Pur Semillon, Valandraud Blanc    Explore Bordeaux 2024 

As the floodgates open for Bordeaux 2024 releases, the world’s leading wine critics are offering their thoughts on the vintage. Here you’ll find a round-up of what the Wine Advocate, Vinous and more are saying about the vintage so far – and the wines they rated most highly 

Your essential crib-sheet to what the world’s leading wine critics are saying about Bordeaux 2024 en primeur–including Wine Advocate, Vinous,Decanter and more

Bordeaux 2024 en primeur – what the critics are saying 

Bordeaux 2024: what the critics are saying 

It’s not every day that you get to taste wines made over half a century ago – but earlier this month I got to trace CVNE’s flagship Imperial Gran Reserva all the way back to the 1947 vintage. Victor Urrutia, the fifth generation of his family to take the helm of this legendary Rioja producer, put together a tasting of what he called “the dirty dozen” – lining up 12 vintages of Imperial. The wines were chosen to show how the wine speaks across a range of vintages – not just the most famous, but the hot, the cold, the mighty and the mediocre.  CVNE has been making wine in Rioja Alta since 1879, so – even going back to 1947 – this tasting offered just a snapshot of its history. Imperial was created in the early 20th century (1917 is the earliest vintage Urrutia himself has tasted), conceived as “super Rioja”, Urrutia explained. The idea was to make the best wine possible, regardless of its commercial potential, at a time when Rioja didn’t have the prestige of today. Around 50,000 bottles are produced, but – importantly – Imperial isn’t made in every vintage, with the quality of the fruit in some years not meeting CVNE’s stringent standards (there was no 2003, 2006 or 2013, for example, and there won’t be a 2023 either).  For Urrutia, the goal with Imperial now is to reflect each vintage, and fine-tune the wine rather than look for revolution. The early vintages are their benchmark and inspiration. Across the vintages, however, Urrutia points to a “churchy” nose – something he finds is distinctly Imperial and reminiscent of the winery.  It’s easy, perhaps, to forget how well Rioja ages – and not just over a decade or two, but over half a century. The oldest vintage in this tasting, the 1947, was undoubtedly the star – a wine that has retained its freshness, with delicate aromatics and a beautifully long, pure, resolved palate. The entire flight impressed – with the quality of Imperial shining through. Some of Rioja’s legendary vintages featured (the 1970 and 1959, which sit alongside the likes of 1982 and 1964 in the history books), but my personal favourites were the aforementioned 1947, the still compact 2004 (named Wine Spectator’s Wine of the Year in 2013), the brooding 2011 and pretty, elegant 2018.   The Imperial vineyards  The fruit for Imperial Gran Reserva comes from CVNE’s best vineyards, all over 40 years in age and almost all bush vines, yielding around 4,000kg/ha (equivalent to circa 25hl/ha or less than 1.5 tons/acre). The parcels all sit close to the Cantabrian mountains, at around 500-600 metres’ altitude, and on poor but cool soils (clay and limestone) – lending the wines great freshness, even in hot and dry years, explains longtime Technical Director María Larrea.  The village of Villalba de Rioja has been the backbone of the wine since its conception. This village was where the Real de Asúa brothers (who founded CVNE) first bought vineyards, four kilometres from Haro. The vineyards are steep and south-facing, exposed to the winds and some of the vines therefore have to be trellised (cordón Royat), but it brings acidity and freshness to the wine – something that is essential for its ageing potential. Parcels in the villages of Briones and Torremontalbo were added later, in the 1960s. Briones has richer soils, gentle slopes and a warmer climate, giving structure and body to the wine, while Torremontalbo has steep, stony slopes with calcareous soils and a significant diurnal shift, adding minerality and finesse to the blend.  The Imperial blend  The blend has shifted over the years, with the wine originally around 40% Garnacha and 40% Tempranillo, with the remaining 20% Graciano and Mazuelo. The old vineyards were field blends, with the varieties interplanted and harvested together, meaning mixed ripeness levels – something that arguably brought balance and complexity to the wines, even if some of the fruit wouldn’t have been ripe. Nowadays, each variety is planted separately at CVNE – allowing them more control and precision, harvesting each grape at the perfect moment and crafting a blend in the winery.  There was a move away from Garnacha in the 1970s, with more and more Tempranillo planted instead. Garnacha was less appreciated, seen as a workhorse, an impression that was only reenforced when lesser, high-yielding clones were planted in the 1980s and 1990s. As Larrea also noted, Garnacha is much more prone to coulure and millerandage (poor flowering and fruit-set), which may have been another factor in its decline. There was also a time, Urrutia explained, when Bordeaux was the reference point for fine wine, and they looked to imitate the region, favouring Tempranillo for its darker colour versus the more thin-skinned and therefore pale Grenache. Today, the blend is dominated by Tempranillo (with the 2017 and 2018 Imperial both 85% Tempranillo), but Grenache is undergoing a revival across Rioja and – provided they can have the right clonal material and/or older vineyards – it may contribute more to the blend in time.  The proportion of Graciano and Mazuelo has been reduced slightly, but Larrea emphasises how important the two grapes are in the face of climate change. Mazuelo (aka Carignan/Cariñena) provides structure and colour, while Graciano contributes acidity and aromatic complexity.  The winemaking  Although she joined CVNE in 1991, María Larrea took over the winemaking for Imperial with the 2005 vintage, following on from Basilio Izquierdo, who had been running things for over 30 years (since 1973). Before Izquierdo came Ezequiel García, known as “El Brujo” (“The Wizard”), winemaker for CVNE for over three decades (he returned briefly in 2014 to recreate their legendary white, Monopole).  Across the three winemakers and almost 70 years, surprisingly little has changed. The winemaking here remains extremely traditional, although technology has allowed the team to monitor the wines more closely, and for better winery hygiene, as in most regions. Fermentation remains indigenous, although it’s no longer spontaneous – the wines have been inoculated with a selected strain of their indigenous yeast since the early 2010s (with some experiments in the 1990s). Traditionally fermentation was in concrete tank, however this moved to oak in the 1990s, with one lone vintage (1994) fermented in stainless steel when the vats hadn’t arrived in time.  The wines used to be stored in barrel and only bottled when they were sold, so some older vintages of Imperial spent over a decade in barrel, while today the wine normally stays in barrel for between two and three years. (The bottling dates for each of the vintages is included below – the 1947 wasn’t bottled until 1960!) Originally the oak was all American, simply because that is what they had access to via their historic trade routes, and the barrels were kept for decades (Larrea remembers using 40-year-old barrels when she arrived in the 1990s). CVNE gradually started introducing French oak in the 1980s, with around 30% French oak used in the 1990s and around 60-70% today, with the remainder American.   The wines: tasting eight decades of CVNE Imperial  A note on the bottles themselves: older vintages are in green glass, however they moved to brown glass around 10-15 years ago.  2018 Imperial Gran Reserva: This was a real highlight of the vertical. It is very youthful still, fruit-forward, yet with amazing finesse and delicacy. The nose is precise with dainty aromatics of spice, graphite and florals alongside the crystalline fruit. The palate is juicy and lithe, pure, silken and fresh with savoury tobacco and dried red berries filling the mouth-watering finish. Beautiful and very open, even now. Fermented in oak, 14% alcohol and bottled July 2021.  2017 Imperial Gran Reserva: Frosts swept across much of Europe in late April in 2017, although the rest of the season was relatively warm, producing a tiny crop of concentrated fruit. It’s a drastically different wine to the 2018, yet still with great freshness and a floral lift alongside ripe, sweet red fruit. The palate is tight, much less approachable than the 2018, with compact tannins, a bite of crunchy acidity and a grip of firm tannins, while smoky tones that fill the finish. Decant to enjoy now, but this will be even better with a couple more years in bottle. Fermented in oak, 14% alcohol and bottled July 2020.  2015 Imperial Gran Reserva: The 2015 Imperial is dark and intense, layered with rich bramble fruit, cedar, tobacco, spice and something meaty – a hint of biltong, perhaps. The palate echoes the concentration of the nose, with chewy tannins and a line of acidity that cuts through its intensity. Powerful, almost stern, with more dried fruit coming out with air, the finish is long and savoury, with a touch of red miso. Fermented in oak, 14.5% alcohol and bottled June 2018.  2011 Imperial Gran Reserva: Another standout in the vertical, the 2011 Imperial offers a dark and pure nose, still surprisingly primary with black cherry and cassis fruit, lifted by sweet spicy perfume. The palate is silken and pure, still so youthful, flowing across the tongue, framed by firm but integrated tannins. It’s concentrated and long, with floral aromatics dancing on the juicy finish. Hard to resist with great balance. Fermented in oak, 13.5% alcohol and bottled July 2014.  2009 Imperial Gran Reserva: This is a very serious Imperial now at a lovely stage of maturity – with savoury undergrowth and spicy notes sitting alongside the vibrant dark berry fruit. The palate is intense yet with a softness to it, despite the chewy framework of tannins. It’s juicy and expressive, with smoky, spicy, tobacco notes playing on the finish, and just the slightest hint of leather starting to appear. Fermented in oak, 13.8% alcohol and bottled January 2013.  2004 Imperial Gran Reserva: From “a textbook vintage” in CVNE CEO Victor Urrutia’s words, the 2004 is shining. Pencil shavings and bacon complement ripe, dark fruit. The palate is tight and compact, yet with a juiciness that elongates the whole thing, with acidity that drives through to the long finish. The tannins are supple and soft, integrated with the fruit, but still offer a grip on the finish. Bright and effortlessly balanced. Fermented in oak, 13.8% alcohol and bottled October 2008.  1994 Imperial Gran Reserva: This is an intriguing vintage of Imperial, the only one ever to have been fermented in stainless steel as they were switching from cement to wood, but the new vats didn’t arrive in time for the vintage. It was also served at the wedding of Spain’s Crown Prince, who later became King Felipe VI. After the 2004, this marks a shift towards wines dominated by tertiary notes, although there’s still plenty of fruit here. The nose is spicy with mushroom and undergrowth alongside incense and leathery tones. The palate is laden with umami – with fresh leather and dried berry fruit – as well as dried strawberries, supple tannins and refreshing acidity. Fermented in stainless steel, 13.16% alcohol and bottled June 1998.  1980 Imperial Gran Reserva: As CEO Victor Urrutia said, 1980 was “a shit vintage” – and has always been in the shadow of 1981 and 1982. Tasting the wine today, that’s probably fair – however it’s still an impressive wine. The nose has a distinctly herbal, menthol edge to the sweet fruit – macerated strawberries, with a balsamic hint. The tannins still offer bite, while the fruit shifts to darker, more bramble tones towards the finish. Fermented in concrete, 13.4% alcohol and bottled May 1985.  1970 Imperial Gran Reserva: The 1970 vintage was hot and produced powerful wines – earning it a reputation as one of Rioja’s finest vintages. After over 50 years, the wine is intensely savoury – combining soy, marmite and barnyard tones with intense, dark fruit. With air, the wine offers layers of spice (almost reminiscent of paprika), bacon frazzles and smoked almonds, complementing the concentrated core of fruit. It’s intense yet balanced, with bright acidity that keeps everything fresh and fills the long finish. Fermented in concrete, 12.97% alcohol and bottled March 1975.  1968 Imperial Gran Reserva: From a more difficult vintage, the 1968 Imperial has a charming nose that seamlessly combines savoury and sweet – with earthy richness that sits alongside incense-inflected berry fruit and a pleasing herbal note. The palate is elegant and vibrant, with plenty of fruit still driving through its core, while more savoury, smoky notes dominate the finish. Fermented in concrete, 12.7% alcohol and bottled April 1974.  1959 Imperial Gran Reserva: The 1959 vintage is another of Rioja’s most lauded, although I suspect this bottle was not showing its best. There’s a plushness and intensity to the palate, with a sharp drive of acidity, while the nose is dominated by leather, black liquorice and barnyard. Fermented in concrete, 13% alcohol and bottled February 1968.  1947 Imperial Gran Reserva: An amazing wine to tasted, the 1947 CVNE Imperial has a reputation – one that this bottle more than lived up to. Coffee and tobacco notes with bright fruit – ripe red cherry and raspberry, as well as florals, incense, black tea and sage, alongside smoky perfume. It’s long and fresh on the palate, seamless and fully resolved but pure and persistent, with a Bovril edge to the finish which is vibrant and long. Gorgeous now – drink it while you have the chance. Fermented in concrete, 12.4% alcohol and bottled August 1960.  Explore all CVNE listings, including a range of back-vintages of Imperial Gran Reserva, or read more Editorial 

Earlier this month, CVNE hosted a once-in-a-lifetime tasting of their Imperial Gran Reserva. Sophie Thorpe explores what makes the wine so special and how it has evolved over eight decades 

Exploring CVNE’s flagship Gran Reserva Rioja, Imperial, back to 1947 at a once-in-a-lifetime tasting with CEO Victor Urrutia 

Tasting CVNE’s Imperial Gran Reserva Rioja 2018-1947 

An icon through the ages: CVNE’s Imperial Gran Reserva 

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       

Burgundy is a mecca for lovers of fine Chardonnay and Pinot Noir, but, with its litany of producers and vineyards, it can be a tricky region to get to grips with. Here we offer an essential guide to the region – breaking down everything from how vineyards are classified to producers to look out for

Discover everything you need to know about Burgundy: from vineyards and producers to the difference between négociant and domaine or what a Grand Cru is

Your essential guide to Burgundy wine

Your essential guide to Burgundy

Last year Colgin celebrated its 30th harvest. In a relatively short time, this Napa estate has become one of the most successful wineries in the region, if not the world. Its three single-vineyard wines – Cariad, Tychson Hill and IX Estate – regularly receive 99-100 points scores across the board, establishing it as one of the region’s cult Cabernet estates that has put Napa on the international fine wine map. Despite its international repute, however, Paul Roberts – Master Sommelier and Colgin’s COO – believes the estate, and Napa Valley as a whole, is still only just starting to tell its story. Napa, more than anywhere else, has been massively influenced by wine critics’ scores. While there is much fanfare over being awarded a perfect 100 points, these headline-grabbing scores have distracted from the actual reasons why this hugely heterogeneous region can produce such great wines, and that the wines themselves are distinctly varied, both in style and flavour profile. For some collectors, if a wine from Napa doesn’t have a 99 or 100-point score then they aren’t interested; however more engaged collectors are starting to identify the nuances within the region and are eager to learn more. Roberts has noticed this first-hand. “[People] don’t want to rely only on a score for guidance but instead begin to look for reasons why they really like these wines from Pritchard Hill, for instance… this is an evolution.” It reminds Roberts of a conversation he had with Dominique Lafon (Domaine des Comtes Lafon) when visiting Burgundy. Lafon said to Roberts, “When Domaine Faiveley sued Robert Parker in 1993, it was the best thing that could have happened to Burgundy. Parker left Burgundy and no other critic at the time had the influence like he did.” Lafon felt that it forced the wineries in Burgundy to focus on the story behind their wine – the characteristics of each vineyard – instead of a score. “This has to be the next evolution in understanding the great wines and the great terroirs of Napa,” says Roberts.  While Roberts emphasises that Colgin doesn’t trade on its scores, it is fortunate to have them. “But Napa is about a place – and we need to talk about this more,” he says. “The place is going to outlive you, me, Robert Parker, Lisa Perrotti-Brown, Antonio Galloni, all of us will be dead and gone, but the land abides. The place will hopefully begin to take on its own unique story, just in the same way you think Romanée-Saint-Vivant is different to Richebourg.” Tasting Colgin with Roberts, you quickly realise that for him tannins (their shape, intensity and mouthfeel) are an important aspect of understanding Napa’s different terroirs, as well as what really sets Napa apart from other Cabernet-growing regions around the world. Firstly, there’s the sheer volume of tannins. Top Napa Cabernets have higher skin-to-juice ratios than even the First Growths, notes Roberts, and therefore much more “antioxidant” tannins than their Bordeaux counterparts, vital for long ageing and development in bottle. Colgin’s mountainside IX Estate vineyard on Pritchard Hill produces berries that are, on average, 30% smaller than those grown in Pauillac and, to Roberts, have a completely different tannin profile. “While we love and enjoy drinking Bordeaux wines,” says Roberts, “Napa shoots itself in the foot every time we keep comparing our wines to Bordeaux. The climate, the terroir, the soils, they are just completely different.” When asked to describe the differences between the various regions within Napa, Roberts wants the tannins to guide you. While the reality is more nuanced, generally Roberts finds that the further south you are, the more elegant the tannin profile. In the south it is slightly cooler, something further exaggerated by the elevation. The northern part of the valley, however, produces “exotic, fleshy, powerful wines”. He finds that the mountain appellations – Spring Mountain, Howell Mountain and Diamond Mountain – produce powerful, dense, tannic, structured wines.  
Today Napa wines are often divided into those from the valley floor and those from mountain sites. While this binary division is one way to approach the geographical distinctions within Napa, but it is, Roberts feels, overly simplistic. Most importantly, it doesn’t allow for wines that are neither valley floor or mountain – the hillside vineyards, such as Colgin. 
Napa’s climate is influenced heavily by marine fog. Every day during the growing season, a layer of fog forms over the vineyards. Valley floor vineyards sit below the fog line and are protected from the full daytime power of the sun, moderating the climate. Mountain sites are above the fog line and are therefore constantly exposed to the California sunshine, which, according to Roberts, produces “a different berry structure” to the grapes on the valley floor. “The berries are smaller and have much thicker skins, very different tannins and much later picking cycles, since the mountain appellations are cooler due to elevation,” he explains.

“This cloud layer, that determines whether you are in a valley floor appellation, or a mountain appellation, tops off around 1,400 feet,” says Roberts. “ Howell Mountain’s vineyards starts at 1,400 feet; Diamond Mountain – most properties sit between 1,600-2,600 feet; Spring Mountain have some vineyards at 3,000 feet.” These then sit comfortably above the fog line and are rightly classified as mountain appellation wines. But Colgin, along with some others, Roberts believes, are wrongly considered mountain wines.

Colgin’s vineyards sit between 300 and 1,400 feet, and remain in or below the fog line. So, in some ways, they are similar to the valley floor, but, because they are on a hillside, they benefit from what Roberts calls “the devigourating nature of a hillside rocky soil”. These hillside vineyards have their own distinct climatic and geological influence – that doesn’t fit with mountain terroir or valley floor, but shares elements of both. For Roberts, Colgin’s vineyards are better described as a mid-slope hillside appellation, and it finds itself in good company.  
“If you look back at the time when we released our first vintage,” says Roberts, “we were labelled among a number of wineries as one of the cult Cabernet estates. Harlan Estate, Bryant Estate, Eisele Vineyards and ourselves – you look, and all of them are planted on mid-slope hillsides." Screaming Eagle (another cult Cabernet estate), Roberts admits, is strictly valley floor, but it is still on a slope. “A lot of people at the time said you are not going to be able to get Cabernet ripe and it’s too hard to plant in the rocky soils on these mid-slopes,” says Roberts. “But now this is where you see a lot of the great estates are situated.” “Even if you look at a famous vineyard like To Kalon,” says Roberts, “it is roughly the same size as Clos Vougeot. We all know Clos Vougeot is a Grand Cru, but within the vineyard it has some Grand Cru quality terroir, some not so good Premier Cru quality and even some village quality terroir, all within the same delineated boundary. Well, To Kalon is the same. If you get close to the road (Highway 29), it is a totally different style of wine than if you are further back on the toe of the hill where there is deeper gravel. That to me is like the Grand Cru part of To Kalon and that part, like Screaming Eagle, is on a slope, and behaves closer to a mid-slope hillside appellation than valley floor.”  The great advantage of these mid-slope hillside appellations, according to Roberts, is not only better drainage and the natural devigouration of the rocky soils, but a different ripening cycle. Because the soils are that much drier, they warm up quicker at the beginning of the season, pushing the hillside vineyards to bud earlier and to ripen more quickly than those on the valley floor and in the mountain appellations. This helps them avoid the late season rain that can disrupt a vintage. The result, therefore, is much more consistency year to year. Roberts notes that more and more producers are realising the virtues of the Napa hillsides, with the likes of Tim Mondavi now planting on Pritchard Hill. Despite demand for these hillside plots, which have proven their potential, Roberts doesn’t expect to see the “appellation” expand much more. Regulation and restrictions from California’s Land Use Law prevents any new plantings on Napa’s hillsides, preserving key natural habitats. And that might be no bad thing, since the residential properties being developed in the region and their ornamental plantings of lavender and rosemary, Roberts argues, pose a huge fire risk for the region. California faces a tumultuous future. As aquafers dry up and fires rage around the state, California sometimes feels like a perilous place that needs protecting. Colgin know the dangers only too well. On 17th August 2020, a freak storm hit California. The state saw 10,000 lightning strikes in 24 hours. One of the two huge fires that the storm caused started directly opposite Colgin’s vineyards. “Within four hours, we were in an evacuation zone,” says Roberts. “The fire couldn’t be put out by a fire crew because it was on such a steep hillside, they couldn’t get to it. All air assets had been deployed to southern California, since that is where they thought the storm would hit.” Fortunately, vineyards act as firebreaks and Colgin’s vineyards were saved – although they didn’t make any wine in 2020 because of the smoke damage. Such a close call has Roberts and his team doing everything they can to minimise the risks. A massive amount of brush clearing, putting in fire roads as well as bringing in new technology to minimize the risks. At the top of Colgin’s vineyards, Roberts recently approved a heat camera that can sense and detect the emergence of a fire, allowing them to deploy helicopters and put fires out early, before they have a chance to spread.

While these issues have become a day-to-day concern in the region, Roberts is confident Napa is turning a page in its history. If you look beyond the headlines of high scores and wildfires, Napa’s vineyards and varied terroir are starting to find a voice – and that’s where the real story is. Your guide to Colgin’s three single vineyards: IX Estate, Tychson Hill and Cariad While Colgin’s three single vineyards all share mid-slope hillside positioning and the climatic benefits this brings, the sites produce three very different styles of Cabernet, due to their different soils and microclimates. IX Estate IX Estate is an 8.07-hectare vineyard situated on Pritchard Hill overlooking Lake Henessey at an altitude of between 1,100 and 1,400 feet. The IX Estate vineyard’s bedrock is made up of old lava flow, full of iron. The soil looks red, dotted with large volcanic boulders. According to Colgin’s COO Paul Roberts MS, the iron component gives an almost sanguine nature to the tannins. “There are lots of them, but they are very, very fine,” says Roberts. “Then there is an almost bloody note – not as much as in the Northern Rhône – not full blood – not that extreme, but more mouth-watering, not from the acidity but from the flavour/nature of the tannins.” The wines from IX Estate have a distinct red fruit profile on the palate which is a classic element of this part of Napa. The wild flora and fauna around the vineyard, to Roberts, “add an almost herb component, as close as you get to garrigue in the south of France – thyme, rosemary, wild sage.” Tychson Hill Tychson Hill is an historic vineyard site, first planted in the 19th century. The vines were pulled out during prohibition, with the site only replanted by Anne Colgin in the mid-1990s. The vineyard is north of the town of St Helena at an altitude of 300-422 feet. In total 2.42 hectares are planted to vines. The bedrock is also volcanic, but with a very different volcanic origin to IX Estate, with a mix of gravel and obsidian black stone (a black volcanic glass). According to Roberts, the wines from Tchyson Hill has less tannin than IX Estate and they are rounder, without the edges you get in IX Estate. “The tannin quality of the wine begins to emulate the shape of the stones you find in the vineyard,” says Roberts. “Tychson Hill is a much older material – so a finer quality of tannin.” The diurnal shift at Tychson Hill also has a distinct effect on the wines, with a shift of up to 9-10˚C – which provides much more aromatics and more red fruit character. “The climate can fully volatilise and metabolize tannins,” says Roberts, “so they appear much softer.” It is also, he believes, Colgin’s most approachable wine in its youth. Cariad Cariad is a steeper vineyard site, 3.2 hectares in the western hills of St Helena at an altitude of 400-500 feet. The vines are grown on what is an uplifted, old gravel riverbed. The tannins, according to Roberts, are “more spherical because of the rounded stones in the vineyard”. The fruit is more purple in character. Earlier vintages of Cariad were a Cabernet Sauvignon/Merlot blend that typically was the slowest maturing of the three, needing the longest time for the tannins to fully integrate, but today much of the Merlot has been replaced with Cabernet Franc, which Roberts believes brings a much “fleshier beauty” early on in its maturity. Browse all Colgin listings or read more editorial

Napa’s finest wines receive stratospheric scores – but there’s much more to the region’s story. Gavin Smith talks to Master Sommelier and Colgin COO about why it’s time to stop focusing on critical acclaim and let Napa’s vineyards speak for themselves

Exploring how Napa’s vineyards are finding their voice with a spotlight on Colgin’s three single vineyards: IX Estate, Tychson Hill and Cariad

Exploring a new chapter for Napa

A new chapter for Napa

Rene Lequin-Colin

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Rene Lequin-Colin

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