Magical Merlot: Pétrus 
Our final event of 2022 and arguably the most impressive was a line-up of 20 vintages of Pétrus back to 1947. 
With special guest William Kelley to talk our guests through the wines, this was a momentous occasion, not only for the wines but also because it was the last ever event held in The Ritz’s historic William Kent Room, before this magnificent, iconic space underwent a two-year renovation. 
The last flight of the evening was remarkable – with arguably the greatest vintages of Pétrus ever produced, the 1989, 1990 and an unfathomably rare magnum of 1947. The 1990, 1989 and 1947 were the hottest vintages on record in Bordeaux at the time – and clearly proved beneficial for Pétrus – whose distinct terroir produced three wines of extraordinary complexity. Critic Robert Parker concluded – after tasting it on 11 different occasions – that the 1947 Pétrus is the “wine of the century”, quite some accolade. Despite the excitement around this trio, the top wines of the evening were the 2012, 2010, 2009 and 2006 which really stood out for their incredible depth, elegance and concentration. 
The wines, paired with seven sumptuous courses prepared by Executive Head Chef John Williams MBE made for an unforgettable end to 2022. 
Full line-up: Champagne Henri Giraud, MV10, Grand Cru (in magnum) 1982 Puligny-Montrachet, Premier Cru, Clos de la Mouchère, Domaine Henri Boillot Pétrus vertical: 2018, 2017, 2016, 2015, 2014, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005, 2004, 2003, 2002, 2001, 1990, 1989, 1947 (from magnum)
 Castello di Ama’s L’Apparita and La Ricolma versus Percarlo 
Pétrus was not the only iconic Merlot to feature in our events this year. Both L’Apparita (the 100% Merlot from Castello di Ama) and La Ricolma – (San Giusto a Rentennano’s equivalent) have both become wine icons in their own right and beautifully showcase the extraordinary complexity that this grape can achieve in the hills of Chianti. 
Both La Ricolma and L’Apparita started as experiments but, once each of these neighbouring estates (although at completely different altitudes) got a handle on this French import, the results were extraordinary. 
The Castello di Ama and San Guisto a Rentennano events both took place at London’s own Italian icon – The River Café. With Ruth Rogers and her team curating the perfect menu to partner these outstanding wines, it made for two very special evenings. 
For our L’Apparita event, we tasted a vertical back to 1985 – the first-ever vintage of the wine, and one of only six bottles remaining at the estate. Alongside this special wine (which it was a privilege to taste), highlights of the night included the 2018 and exceptional 1995. 
Full line-up: Champagne Henri Giraud, MV10, Grand Cru (in magnum) 2020 Al Poggio Chardonnay di Toscana L’Apparita vertical: 2018, 2015, 2010, 2009, 2007, 2004, 2000, 1998, 1992, 1988, 1985 
 At our San Guisto a Rentennano dinner, La Ricolma was pitted against its Sangiovese sibling Percarlo, in a taste-off spanning 1998 to 2007. It was impossible to pick a winner, but it was the consistency of the wines that really shone through. They were all emotionally charged stunners – particularly 2007 La Ricolma and 2006 Percarlo. 
 Full line-up: Champagne Henri Giraud, MV10, Grand Cru (in magnum) 2021 Fuori Misura Rosato, San Giusto a Rentennano, Tuscany Percarlo vertical: 2007, 2006, 2005, 2004, 1998 (all in magnum) La Ricolma vertical: 2007, 2006, 2005, 2004 (all in magnum) 1997 Vin San Giusto, Passito, San Giusto a Rentennano, Tuscany
 Exploring the Legend: Ch. Rayas 1990-2011 
The Rhône was well represented, with a once-in-a-lifetime vertical of Ch. Rayas – the mystical Châteaunuef-du-Pape estate that has few peers in the fine wine world. With William Kelley co-hosting, the tasting included 19 vintages of this rare, exotic beauty. 
Much to everyone’s surprise, it was the so-called “off-vintages”, years that might be deemed “lesser”, that were the most impressive – it was in these bottlings that the singularity of Rayas shone through, over-riding the character of the appellation or year. 
The 2008 (given “only” 93 points by Parker back in 2012, upgraded from its original 90 in 2010) was the wine of the night for most people. By contrast, the top-rated 2009 from a blockbuster vintage was impressive, yet the vintage ever so slightly masked the Rayas style – making the wine feel more like another (very good) Châteauneuf-du-Pape. Overall, the wines showed an effortless timelessness. 
Tasting through this line-up was an absolute privilege; for these rightly revered, rare wines are incredible. With no new oak, they are all about the purity and quality of fruit. They show exceptional longevity, an ethereality and easy grace that mesmerises. 
Full line-up: Champagne Henri Giraud, MV10, Grand Cru (in magnum) Ch. Rayas Châteauneuf-du-Pape Blanc vertical: 1999, 2004, 2006 Ch. Rayas Châteauneuf-du-Pape vertical: 2011, 2010, 2009, 2008, 2007, 2006, 2005, 2004, 2003, 2002, 2001, 2000, 1999, 1998, 1997, 1996, 1995, 1994, 1990 
Harlan: Napa’s iconic Cabernet 
Another icon, this time from the other side of the pond was explored in our event with Napa’s Harlan, an estate that has led the charge when it comes to planting vineyards above the valley floor. 
When first established, Harlan took a substantial risk, buying uncultivated land at a higher altitude that had never been planted to vines. The hillsides of Napa are largely unsuitable for cultivation, either too steep or too rocky for vines to take root. Harlan’s vines commonly have less than a foot of topsoil to burrow into before hitting the bedrock. This combination of soils, multiple exposures, the drainage of these hillside plots and the altitude all help produce a wine of singular character.   
 Tasting 11 vintages of this extraordinary wine, from the early days through to the present, was an insightful journey into one of Napa’s most complex terroirs. The favourites of the night had to be the 2006 and 1994, but the landmark vintages such as 2018, 2013 and 2001 were unsurprisingly show-stopping. 
Full line-up: Champagne Henri Giraud, MV10, Grand Cru (in magnum) 2018 Corton-Charlemagne, Grand Cru, Henri Boillot (in magnum) Harlan vertical: 2018, 2017, 2016, 2013, 2010, 2006, 2001, 1997, 1996, 1993 
Champagne takes centre stage: Henri Giraud’s Arg̈onne World-class Champagne producers were also well-serviced in our events in 2022. A vertical of Arg̈onne – Henri Giraud’s top cuvée – was a masterclass in oak-matured Champagne. 
Arg̈onne is named after the oak forest that defines the wine. Only made in exceptional vintages, it’s a particularly special, age-worthy Champagne that is 100% fermented and aged in Argonne oak that winemaker Sébastien le Golvet hand picks from the forest. Once transformed into a barrel he then custom toasts the barrels to suit the vintage characteristics. 
Sébastien le Golvet – son-in-law to founder Claude Giraud – is constantly experimenting. After making wine at Giraud for over 20 years, he believes the oak helps retain tension in the wines, allowing them to better express the Aÿ terroir. The talented winemaker believes that the toast level is integral to the wine’s resulting style. 
It was a fascinating tasting and the way this wine develops with age is extraordinary. The highlights of the evening were the 2008 Argonne for its depth, richness and balance, but also the 2011 Blanc de Blancs, which was pure precision, richness and controlled intensity. 
 Full line-up: Champagne Henri Giraud, MV07 2019 and 2009 Coteaux Champenois, Aÿ Blanc, Grand Cru, Henri Giraud 2011 and 2002 Champagne Henri Giraud, Blanc de Blancs 2012 Champagne Henri Giraud, Arg̈onne Rosé Arg̈onne vertical: 2014, 2008, 2004, 2002 Champagne Henri Giraud, Arg̈onne 2000 Champagne Henri Giraud, Fût de Chêne d'Arg̈onne 1995 Champagne Henri Giraud, Fût de Chêne Ratafia Champenois Solera 90-16, Henri Giraud (17%) 
Taittinger’s Comtes de Champagne 
Everyone who tries Taittinger’s Comtes de Champagne seems to be immediately seduced by it. We felt such a crowd-pleaser deserved centre stage at one of our events this year and we invited Taittinger’s Chef de Cave Alexandre Ponnavoy to London to explain the magic behind what is almost everyone’s favourite Blanc de Blancs.  
The Champagne is named after the 16th century Count of Champagne – Thibaud IV le Chansonnier – who, legend has it, returned from the Orient during the Crusades with both the Damask rose and the Chardonnay grape. Comtes de Champagne represents the top bottling in Taittinger’s range and the label features a portrait of Thibaud IV le Chansonnier.  
  All the grapes for Comtes de Champagne are sourced from the Côte des Blancs, a ridge running 30km north to south with east-facing vineyards, predominantly planted to Chardonnay (95%). The fruit is sourced from all five Grand Cru villages in the Côte des Blancs – Avize, Chouilly, Cramant, Mesnil-sur-Oger and Oger. This cuvée is made in only the top vintages exclusively from first-press juice only. A small percentage (5%) of the blend is aged in new oak barrels to create a delicate balance of toasted notes in the final wine.   Tasting vintages back to 1989 was fascinating to see, not only how the wine matures but also the change in style as the dosage has altered considerably over the years, becoming drier as drinkers’ tastes have changed.  All the wines showed beautifully. The evening started with the then yet-to-be-released 2012 – which our guests were the first in the world to taste – But it was the 1995 Blanc de Blancs and ‘85 Rosé that were the standout wines of the night. The rosé was in pristine condition despite its age, coming direct from the cellars of Taittinger. Full line-up:  Champagne Taittinger, Comtes de Champagne, Blanc de Blancs vertical: 2012, 2011, 2008, 2007, 2006, 2005, 2000, 1989, 1988, Champagne Taittinger, Comtes de Champagne, Rosé vertical: 2009, 2008, 2007, 2006, 2005, 1996 Montrachet Dinner with Domaine des Comtes Lafon Getting to taste a vertical of Montrachet from Comtes Lafon spanning 2017 to 2001 was an undeniable highlight of the year. This was a truly rare opportunity to explore this coveted and rare wine through the ages.  Treasured for its scarcity and revered for its quality, Lafon’s Montrachet comes from a miniscule plot (just 31.82 ares) in the Grand Cru – and, unsurprisingly, delivers excellence year after year. Secured by collectors immediately on release, this is the pinnacle of white Burgundy.  Critics speak of a herbal minerality, of crustacea, of vivacious florals and bittersweet nuttiness: these wines capture the true essence of complexity in each vintage – the wine is a masterclass in singularity. With an exquisite menu courtesy of world-renowned three-Michelin-starred chef Hélène Darroze at The Connaught, we were joined by Léa Lafon, fifth-generation member of the Lafon family and a custodian of the renowned Meursault-based domaine to talk us through this incredible vertical. Comtes Lafon makes one of the richest and most powerful Montrachets, possessing both great concentration, yet also amazing freshness that carries it through its long drinking window. Being fortunate enough to drink through 15 vintages really highlighted the wines’ capacity to age.  The top 2017, 2014 and 2010 vintages were a masterclass in Chardonnay perfected, but it was the supposedly “lesser” years such as 2006 or 2011 that showed the sheer class of both the site and the winemaking. Full line-up:  Champagne Henri Giraud, MV07 Montrachet, Grand Cru, Domaine des Comtes Lafon vertical: 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2017
 And much, much more We also explored a property that is a firm FINE+RARE favourite, tasting through all the vintages ever made of Venissa’s unique white. This wine is made from the Dorona di Venezia grape – a variety that was almost lost to history were it not for Gianluca Bisol’s heritage site on the island of Mazzorbo. Nothing tastes quite like it, and it was a privilege to explore its evolution with Matteo Bisol.  Full line-up:  Champagne Henri Giraud, MV07 Venissa Bianco vertical: 2017, 2016, 2014, 2013, 2011, 2010 Venissa Rosso vertical: 2016, 2015, 2012, 2011 Venissa Vermouth   We also hosted events outside London. Our Hong Kong team explored the wonderful Rieslings of the Mosel’s Markus Molitor paired with the finest Sichuan dishes from Jing Alley. It was an unforgettable culinary experience perfectly pairing Molitor’s precise razor-sharp Rieslings with Chengdu-style Sichuanese cuisine. In Europe, we held events in Portofino, Milan and Piedmont celebrating the great whites of France to a much-appreciative crowd of Italian Francophiles.  Looking into 2023  Last year’s line-up is going to be hard to beat but we are going to do everything we can to outdo ourselves in 2023. Next month we kick off with our first event in London with a vertical tasting of Ch. Ausone – one of Saint-Emilion’s finest estates. We will explore the vintages under the tenure of current owners, the Vauthier family, which has taken this property to new heights over the last 20 years. Later in the year, we will be celebrating the tenure of Bordeaux legend Paul Pontallier with a vertical of Ch. Margaux from his time at the estate, covering some of the finest vintages ever made at the First Growth, wines which are a lasting tribute to Pontallier’s legacy. And that’s only the beginning – with much, much more in the pipeline. We hope you can make it!   Find out more about our events + experiences 

While we’re in the midst of planning our full line-up of events for 2023, we look back at 2022’s dinners and tastings – with highlights including verticals of Pétrus, Rayas, Harlan and Comtes Lafon’s Montrachet

A round-up of some of the best events we hosted in 2022 – including verticals of Pétrus, Rayas, Comtes Lafon and more

Looking back at our wine events in 2022

Looking back at our 2022 events

“First of all, you have to resonate 100% Chardonnay,” declares Alexandre Ponnavoy, Taittinger's Chef de Cave. “Chardonnay that produces precise, mineral, chiseled, complex wines with a lace-like finish and an ability to age is what I’m looking for when selecting the grapes that will become part of the Comtes de Champagne blend.” Chardonnay has always been prominent in the house of Taittinger, typically 40% of their Brut Réserve. But when making a pure Chardonnay Champagne (the most delicate of the Champagne varieties), as a vigneron you have to change your mindset, “You must orient your tasting and see the vintage only through this grape variety,” Alexandre explains. All the grapes for Comtes are sourced from Champagne’s Côte des Blancs, a ridge running 30km north to south with east-facing vineyards, predominantly planted to Chardonnay (95%) and responsible for Champagne’s finest Blanc de Blancs Champagnes. Comtes de Champagne is sourced from all five Grand Cru villages situated on the Côte des Blancs – Avize, Chouilly, Cramant, Mesnil-sur-Oger and Oger, with the main base of the cuvée coming from Taittinger’s house vineyard surrounding the Château de la Marquetterie just south of Epernay.  According to Ponnavoy, each of these Grand Cru villages has distinct features that when blended can create something truly special. He identifies how Avize produces very pure, precise, chiseled, crystalline wines – “no exuberance but a lot of precision and freshness”. Chouilly is quite different: “I often say Chouilly is the most Pinot of Chardonnays! This Cru produces Chardonnays used by us for their structure and aromatic power. These are wines with a beautiful backbone. Cramant gives Chardonnays of great minerality with a slightly iodized, saline hint. Mesnil-sur-Oger offers wines of extreme depth, of beautiful aromatic generosity, with exceptional volume on the palate, with a precise and mineral finish. Oger gives us expressive, structured, fruity, gourmet wines with notes of pear, lemon and slightly honeyed.” After each harvest, each wine from these villages is tasted several times, analysed organoleptically in order for Ponnavoy and his team to predict their ageing and aromatic potential before making the decision on whether they will be selected for Comtes. “Some villages can express themselves better depending on the vintage,” states Ponnavoy. “The distribution of the percentage of these five villages lies in the alchemy to design a timeless wine faithful to its style year after year. What I can say is that the vintages of Avize, (precision), Chouilly (structure) and Mesnil-sur-Oger (depth) are nicely represented in the 2008 vintage.”
 While Alexandre Ponnavoy has a clear idea of what the Comtes de Champagne identity is, something he believes shines through despite the vintage conditions, the style of Comtes de Champagne has changed over the years, in line with trends across the region and the change in climate. The dosage of Comtes up until the 1980s was much higher – typically 15 to 16 g/l, now it is closer to 9g/l. “Of course, the growing maturity of the Champagne grapes has played a role in reducing the dosage,” explains Ponnavoy. But global warming does not explain everything: “Champagne consumption patterns have changed. Champagne tasters accept and seek out more restrained, fresher, less dosed Champagne.” And so Taittinger adapted Comtes’s style in line with those needs. Another change came in the late 1980s when Ponnavoy’s predecessor Loic Dupont re-introduced partial oak-ageing for the Comtes de Champagne. This woody part is today an integral part of the Comtes de Champagne profile. Only a tiny proportion of the wine sees oak (between 5 to 8%) depending on the vintage, but – for Ponnavoy – it is the oak that provides a touch of spice and more importantly helps frame the “aromatic concentration and precision required for ageing”. The 2008 vintage is one of the most celebrated in Champagne. It is in fact one of the few vintages in the last 20 years in which the harvest took place in October. Despite this "late" harvest (even if it was the norm in the 1980s and ’90s), Ponnavoy notes that the grapes retained a lot of acidity as well as concentration from what was an extended growing season. The acid-sugar balance is so important Ponnavoy and his team could see the quality of the grapes at harvest was very promising. “2008 is the perfect expression of our continental climate in Champagne, which is both hot and cool. The Comtes 2008 carries this very contrasting climatology within it, between sun and freshness, as well as the distinct identity of the chalky terroir and the allure and precision you can get from the Côte des Blancs.”   Much has been said and written about the similarity of 2008 to other vintages but Ponnavoy is reticent to compare it directly. For him, this vintage stands on its own and has its own personality. At a push in terms of concentration he compares it to 1996 and for elegance to the 2004. When it comes to the 2008’s drinking window, he believes it all depends on what you want from your Champagne. “The 2008 is ready to be discovered now, appreciated on its thin, elegant, chiselled, dynamic side. However, Comtes de Champagne is certainly produced with the purpose for ageing. I like to taste Champagnes with as much ageing time on the lees as disgorging time. I think it will be interesting to discover or rediscover this 2008 vintage in 10 years or so, at the dawn of 2030!” With fantastic lineage behind it, the 2008 Comtes de Champagne will no doubt be in high demand on release and provide fantastic drinking pleasure for decades to come. 
Explore more Editorial 


Ahead of the 2008 vintage’s release, Taittinger’s Chef de Cave Alexandre Ponnavoy talks us through what defines the house’s much-loved prestige Blanc de Blancs, Comtes de Champagne

Upon 2008 vintage’s release, Taittinger’s Chef de Cave talks us through what defines the house’s much-loved prestige Blanc de Blancs, Comtes de Champagne

Tasting Taittinger Comtes de Champagne 2008

Taittinger Comtes de Champagne 2008: the wait is over

What is Krug?  Krug is one of the most famous Champagne Houses in the world. It is unusual for making only prestige cuvées and is prized by fine wine lovers, seen by many as the pinnacle of fine Champagne – competing with the likes of Cristal and Dom Pérignon.  When was Krug first made?  Joseph Krug established Krug & Compagnie in 1843 with a wine merchant friend, Hyppolyte de Vivès. Born in Mainz in 1800, Johann-Joseph Krug was the son of a butcher. He dropped the Johann, moved to Paris in 1834 and worked as a bookkeeper at Champagne Jacquesson before starting to blend his first wines with De Vivès, trials for what would eventually become the Krug project.  Is Krug still owned by the Krug family?  No – although the family is still very much involved.  When Joseph passed away in 1866, his son Paul took over the business. In 1868 he moved the business to 5 Rue Coquebert in Reims, the address still occupied by Krug today and home to its historic cellars. The company passed to Paul’s son Joseph II in 1910, but his wife Jeanne took the reins when Joseph II became a prisoner of war during the First World War. Joseph II’s nephew Jean Seydoux became a joint manager after the war, with the business passing to Paul Krug II (Joseph II’s son) in 1959 and then to Henri and Rémi Krug, who joined the company in the 1960s and took over in 1977.  Brothers Henri and Rémi were pivotal in developing the House – expanding the range, building its international reputation and overseeing its sale to luxury goods conglomerate LVMH in 1999. Although they continued to manage the House, the financial backing of LVMH only allowed Krug to thrive. In 2009, Olivier Krug – the sixth generation of his family – took over as Director of the House and remains at the helm today.  What is the Krug style?  Often quite deep golden in colour, Krug is renowned for its use of oak, choosing to ferment all its base wines in old 205-litre oak barrels, allowing micro-oxygenation. This, combined with long lees ageing (minimum six years for non-vintage and 10 for vintage wines), produces a powerful, broad and richly autolytic style of wine, layered with bread, biscuit and brioche notes. The huge number of blending components used for Grande Cuvée makes a particularly complex non-vintage – or as they prefer to call it, multi-vintage – wine. The House also favours picking on the earlier side to retain freshness in the wines. Dosage here is average with the wines labelled Brut, and dosage normally sitting around 5-6g/l in modern releases.  It's interesting to note that Krug feels Meunier is an important element in their blends (sometimes viewed as a lesser grape by Champagne Houses), valuing the mid-palate generosity it brings to wines. Meunier often represents 15-25% of the House’s vintage blends.   What are the different Krug wines?  Joseph Krug had clear ideas about how to make the best Champagne and famously outlined these in his burgundy-coloured leather notebook (which is on display at the Krug family headquarters today). He declared that the House would only make two cuvées, intended to be of equal quality. Cuvée No 1 was a non-vintage wine, conceived to be “the fullest expression of Champagne every year” (embodied today by Grande Cuvée), while Cuvée No 2 would express each vintage. He also firmly believed in the importance of site, writing, “We cannot obtain good wines without using good elements and good terroirs.”  For many years, the House continued to produce just two wines, but the range has since expanded. Although the non-vintage and vintage wines were intended to be equal in quality, the vintage wines command higher prices today.  The Krug range consists of six wines:  Krug Grande Cuvée: Grande Cuvée is Krug’s flagship non-vintage, or multi-vintage (MV), wine, and the modern Cuvée No 1, and previously known as Private Cuvée (until 1978, see below for more on this). There are up to 200 components in each bottling of the wine, combining over 10 vintages (the youngest six years old, the oldest over 20 years old). While it is the House’s “entry-level” offering today, the House holds back many of its best wines from top vintages for the wine. It spends minimum seven years’ ageing on lees prior to disgorgement, with an additional year on cork prior to release. Unlike many non-vintage wines, the goal is not for the wine to be entirely consistent between releases, but to make “the fullest expression of Champagne”. From 2011, this was acknowledged officially when Krug added the Krug ID to every bottle (see more below). In 2016, the House took this further and decided to add an Edition number to each release, starting with Edition 163 (for which the base year was 2007). Some collectors seek out particular editions of Grande Cuvée, with 164 (base 2008) or 168 (base 2012) unsurprisingly lauded. Half-bottles don’t have the edition number on the label, so you need to use the Krug ID to identify the specific bottling.  Krug Rosé: The House’s other non-vintage wine, Krug Rosé was created by Henri and Rémi Krug in the 1970s, with the first release based on the 1976 vintage, released in 1983. The wine is a blend of white wines, with around 11% still red Pinot Noir blended in, combining anything between 20 and 70 different components from five vintages, spending minimum six years on its lees. As for Grande Cuvée, in 2016 Krug added an Edition number to the Rosé label, starting with Edition 21 (base 2008).   Krug Clos du Mesnil: Clos du Mesnil is a single-vineyard vintage Blanc de Blancs Champagne, and one of Krug’s top wines. Champagne expert Richard Juhlin describes it as “the best wine in the world”. Henri and Rémi Krug purchased six hectares of Chardonnay in Le Mesnil-sur-Oger in 1971 and when they went to inspect the vineyards they discovered it included a walled 1.84-hectare plot in the heart of the village. On the wall is inscribed, “In the year 1698, this wall was built by Claude Jannin and Pierre Dehée Metoen and in the same year the vines were planted by Gaspard Jannin, son of Claude.” They replanted the site and at first the fruit was blended into the House’s other wines, however they found that the warmer microclimate – surrounded by buildings – produced a distinctive wine, and they decided to bottle it separately. The first vintage was 1979, released in 1986 – at a time when a single variety, single site wine was pioneering. Aged for minimum a decade on its lees, it is only made in certain vintages where the quality allows.  To date, the vintages of Clos du Mesnil produced are: 1979, 1980, 1981, 1982, 1983, 1985, 1986, 1988, 1989, 1990, 1992, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 and 2009.  Krug Clos d’Ambonnay: Pure Pinot Noir from a single 0.68-hectare plot, Clos d’Ambonnay is Krug’s other single-vineyard vintage wine. Henri and Rémi found this site on the edge of the village of Ambonnay, on the southeastern slope of the Montagne de Reims, in 1991, managing to purchase it in 1994. Like Clos du Mesnil, the site is a walled vineyard, with the walls dating back to 1766, although vines weren’t planted until the 20th century. The first vintage of the Blanc de Noirs was produced in 1995 and released in 2007. As with Clos du Mesnil, it sees long lees ageing (minimum a decade) and is only made where vintage conditions allow. Given the size of the vineyard, Clos d’Ambonnay is particularly rare.  To date, the vintages produced of Clos d’Ambonnay are: 1995, 1996, 1998, 2000, 2002, 2006 and 2008.  Krug Clos d’Ambonnay Rosé: The first vintage of Krug’s Clos d’Ambonnay Rosé is set to be released in autumn 2025, the 2008 vintage. The first new cuvée since the House launched Clos d’Ambonnay, the wine is a rosé from the same single vineyard, including 15% still red wine in the blend.  Krug Vintage: The other wine conceived by founder Joseph Krug, Cuvée No 2, was a vintage wine that the House still produces today. It is only made in vintages deemed worthy by the House and spends over 10 years on its lees prior to disgorgement.  Recent vintages produced of Krug vintage are: 1988, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 and 2011.  Krug Collection: In the 1980s, Krug introduced its Collection – a late-disgorged release of more mature wines, normally offered around 25 years after the vintage. These wines have been kept in the House’s cellars, ageing in perfect conditions. Releases to date include: 1981, 1982, 1985, 1988, 1989, 1990 and 1995.  What is Private Cuvée?  Private Cuvée was the previous name for Grande Cuvée, the House’s non-vintage wine, labelled as such from 1862 to 1978. Champagne expert Richard Juhlin notes that the style shifted with the name change, with Grande Cuvée a little lighter more Chardonnay-driven and more multi-faceted, however Private Cuvée was closer to a vintage wine in style with more weight. “The style from the 20’s to the 60’s is strikingly constant and if you find a bottle with a good level and with a price tag you can handle, it is a chance you must not miss,” he writes of Private Cuvée.  How much Krug Champagne is made?  Production for the House is kept firmly under wraps, however estimates suggest around 425,000 bottles are made each year.  What is Krug ID?  This six-digit code features on the back label of every bottle of Krug and allows the drinker to find out about their specific bottle of, with the first three digits indicating the quarter and year of disgorgement. You can look up the ID on the House’s website or app to find the blend, oldest and youngest wines, tasting notes, food and music pairing suggestions. The Krug ID was introduced in 2011, so only appears on bottles released after that date.  Does Krug own vineyards?  Krug’s expertise was historically winemaking and blending, and always operated as a négociant, as was the norm for the Grandes Marques in Champagne. Krug bought fruit from carefully selected sites to make their wines, but Henri and Rémi purchased the House’s first vineyards in 1971 – including the now famous Clos du Mesnil.  Today Krug owns 21 hectares of vines, representing around 20% of their production, supplementing this with purchased fruit. Krug sources its Chardonnay, Pinot Noir and Meunier from the villages of Ambonnay, Aÿ, Le Mesnil-sur-Oger and Trépail. All their contracts are for specific parcels, many based on generations-long relationships, with their oldest contract dating back to 1876.  Krug has been increasingly focused on sustainability, not using any herbicides or pesticides in its own vineyards and the estate vineyards are certified organic as of the 2024 vintage.  Who makes Krug?  As with any winery, there is a large team involved in producing Krug – including the growers supplying fruit and those in the winery at Krug. Eric Lebel was the longtime cellarmaster, from 1999 to 2019, handing over to Julie Cavil who worked alongside Lebel for 13 years before taking the reins at the start of 2020.  When it comes to deciding on the blends, there is a tasting committee, led by Cavil and usually with Olivier Krug. The committee meets every day between the end of harvest and March, tasting 15 samples each day (a strict maximum to ensure their judgement isn’t impacted by palate fatigue). Over the period, they aim to taste all 400 samples two or three times in total. Each taster has to describe each sample with just a single word, which cannot be duplicated by any other taster – something that Cavil feels helps give a better overall picture of the wines.  How is Krug made?  As already mentioned, all Krug’s base wines are fermented in old oak. They use 205-litre barrels, averaging 20 years in age, often retired at around 40 years. They do not block malolactic fermentation but do not encourage it, so some wines do go through malolactic fermentation. Post fermentation, the wines are transferred to stainless steel tank (they are not aged in wood, as at Henri Giraud, for example). The blends are decided by the House’s Tasting Committee (led by Cellar Master Julie Cavil) between the end of harvest and April, before being bottled and spending minimum seven years on their lees (10 years for the vintage wines).  Where is Krug made?  For almost two centuries, the wines were made at Krug’s historic premises in Reims, however as of 2024 the winemaking has moved to its new Joseph winery, just next to Clos d’Ambonnay.   What’s the deal with Krug and Burning Man?  Krug caused some controversy when it shot a marketing campaign at the Burning Man festival at Black Rock in Nevada in 2011. The shoot and brand were denounced by the Burning Man organisation for not complying with its principles, commercialising the festival and community.  Why is Krug’s bottle shaped differently?  Krug’s distinctive narrow-necked bottle was introduced in 1978, at the same time as it changed the name of Private Cuvée to Grande Cuvée. The House previously used standard Champagne bottles. Beyond making Krug’s bottles even more distinctive, the narrow neck is intended to reduce oxygen exchange over the ageing process.  How does Krug age?  Krug is renowned for its ageing potential – with all the House’s wines, including the non-vintage cuvées, designed to evolve in bottle. Champagne expert Essi Avellan MW notes: “All Krugs benefit from ageing. Five years after release, they tend to have opened up beautifully, showing more expression and a beautifully harmonious nature. Grand Cuvées are a real delight some 10 to 15 years after release, often at the peak of their expression. The vintages are all long-lived; thereafter it depends on the vintage (and the individual bottle, of course) as to how they age. When well kept, all should age for at least 15 years post-release, and the best for several decades.”  Explore all Krug listings, including the new releases of Grande Cuvée and Rosé, or read more about Champagne and sparkling wine 

Krug is a name with reach far beyond wine lovers, the gold label and iconic bottle shape immediately recognisable. As the latest editions of Grande Cuvée and Rosé are released, we have compiled an insider’s guide to this legendary Champagne house and its wines

Everything you need to know about Krug Champagne – the luxury House and its iconic Grande Cuvee, Rose, Clos du Mesnil, Clos d’Ambonnay and vintage wines

Your essential guide to Krug Champagne 

Everything you need to know about Krug 

Champagne’s climate can be fickle. Of all the fine wine regions around the world it has to be the most unpredictable. Lucie Pereyre de Nonancourt chuckles as she recalls the countless times she has heard the latest vintage described as “unlike any they have seen in 50 years”. She explains: “We hear this all the time. No vintage in Champagne is the same!” It is the region’s capricious nature that dictates the thought process behind Laurent-Perrier’s prestige cuvée, Grand Siècle. A blend of three vintages, all with very different, complementary personalities, the idea is, that when blended together, they capture all the potential qualities a vintage in Champagne is capable of – but are rarely found in one. While Laurent-Perrier is widely recognised as one of the region’s great Champagne houses, Grand Siècle hasn’t necessarily garnered the same sort of attention as other prestige cuvées. Possibly one could argue this is because it is the only non-vintage Grande Marque prestige cuvée – but it is almost definitely because, up until recently, the vintages that made up each new release of Grand Siècle weren’t revealed. That all changed in April 2019 when the house first released Grand Siècle Itération No 24 in bottle and Itération No 22 in magnum – identifying the blend of vintages and what each brought to the blend. Fundamentally each vintage should bring one of the three elements that can typically define a great Champagne year – structure, freshness and elegance or acidity. There have been just 24 different iterations of Grand Siècle since its conception in 1959. Pereyre’s grandfather and Champagne legend Bernard de Nonancourt first had the idea for the cuvée. (It was Bernard who took Laurent-Perrier from a small Champagne house to one of the region’s most recognised brands.) The concept came to him “from observing nature”, says Pereyre. “Champagne has a difficult climate – every harvest is very different but quality is also very different.” The perfect year didn’t exist. For him, a great Champagne was one that has reached aromatic complexity, without losing any of its vivacity and freshness – and that was the aim with Grand Siècle. Bernard’s concept had three rules. Firstly, it should always be made up of three vintages. Secondly, it should always be Chardonnay-dominant – a signature of the Laurent-Perrier house. And thirdly, it must all come exclusively from the Grands Crus of the Côte des Blancs and Montagne de Reims. Speaking with Pereyre, it becomes clear just how much work and time goes into each Itération of Grand Siècle. Each release is 15 years in the making: once all three vintages have been selected, they are blended then spend at least 10 years on lees. The wines do not see any oak and are made as reductively as possible, another key to the cuvée’s freshness. The wine is only released when ready to drink, but Pereyre is confident each has the potential to age 20, 30, even 40 years without losing its vibrancy. As larger-format bottles evolve more slowly, magnums of each Itération are typically released a couple of years later. Pereyre has spent her life in Champagne. Baptised with Grand Siècle as a baby, it seems fitting that today she is charged with the prestige cuvée. Laurent-Perrier is one of the few Grandes Marques still under family ownership. Her mother and aunt took over from her grandfather in 2010, with Peyeyre joining the business in 2019.  Ever since she joined, Pereyre has been training under the watchful eye of Chef de Cave Michel Fauconnet, one of Champagne’s most experienced winemakers. Fauconnet has been working at Laurent-Perrier since 1974 and headed up the winemaking in 2004. He is also the winemaker of the illustrious Salon (also owned by Laurent-Perrier). Fauconnet has Pereyre studying how each parcel tastes, how it develops and how it works in the blend. While Grand Siècle always comes from 11 Grands Crus – Mailly, Ambonnay, Bouzy, Verzy, Verzenay, Tours-sur-Marne in Montagne de Reims, and Cramant, Oger, Mesnil-sur-Oger, Chouilly and Avize in the Côte des Blancs – the proportion in each Itération is different. “The top of the hill versus the bottom can bring very different expressions to each vintage,” says Pereyre. “All the hard work of Champagne is in the blending – every cellar master knows what they have in mind and what style they want to express. Ever since my grandfather created the first Grand Siècle, it has been the cellar master’s job to try to recreate this style – linear, taut, mineral, a lot of acidity, not too open aromatically – but not too acidic and to have some roundness.” It is still very early days for Pereyre, but she is tasting all the time – the only way to learn, and appreciates she is blessed with a great teacher. With the contents of each Itération now in the public domain, the wine is gaining huge scores from the region’s leading critics – perhaps unsurprising given the pedigree of the vineyards and cellar team. Grand Siècle is the greatest expression of Laurent-Perrier’s house style. Browse all Champagne Laurent-Perrier listings

Ahead of the long-awaited release of Grand Siècle Itération No 23 in magnum, we speak to Champagne Laurent-Perrier’s Lucie Pereyre de Nonancourt to find out what’s so special about their prestige cuvée 

We speak to Champagne Laurent-Perrier’s Lucie Pereyre de Nonancourt to find out what’s so special about their prestige cuvée Grand Siècle

Laurent-Perrier Grand Siècle and the perfect year

Laurent-Perrier Grand Siècle: recreating the perfect year

Each November, the wine world looks to Burgundy for the Hospices de Beaune auction. We dive into the history of this philanthropic institution, the domaine and the wines it produces

Explore the history of Burgundy’s Hotel-Dieu and Hospices de Beaune, its wine estate and the famous annual auction, the Vente des Vins

Your guide to the wines of the Hospices de Beaune

Everything you need to know about the Hospices de Beaune

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