It’s four centuries since the Giraud-Hémart family first began farming vines in Aÿ, writing the first chapters of an extraordinary legacy.   Although they started out as tenant farmers, the Church granted them a swathe of land in the 17th century – with François Hémart the first member of the family to be registered in the parish records. The modern history of the family, however, starts in the 20th century, when a soldier by the name of Léon Giraud was garrisoned in Aÿ and fell in love with Madeleine Hémart. The couple soon married and had a son, Henri Giraud, moving into the property that the family still lives in today.  At the time, vineyards across the region had been abandoned in the wake of phylloxera and Léon set about replanting three hectares of vines. For 300 years the family had been growing grapes and selling the fruit, but after Henri returned from the Second World War, he and his father decided to start making their own wine – establishing the Giraud-Hémart label. The business grew and evolved, especially after Claude Giraud (Henri’s second son) arrived in 1972, aged just 20. Working with his father over the 1970s and ’80s they rejigged the vineyard holdings and acquired additional holdings to make up the 10 hectares they own today, as well as changing the property’s name to Champagne Henri Giraud.   In 1990, they started buying in additional fruit to meet demand and made their first vintage of Fût de Chêne – the wine that became Argonne from the 2002 vintage. Although in the 1990s the family was ageing wine in oak, it is only in the 21st century that they started working exclusively with oak from the Argonne forest – now integral to the House’s identity.  The Argonne forest was historically the source for much of the wood used in Champagne, home to over 150 coopers, but was gradually abandoned, suffering from particular damage during the Second World War. Henri Giraud has made it a mission to restore and protect the forest, working with the French National Forest Office (ONF) on a replanting program (and have planted over 60,000 trees to date). The House feels Argonne oak is a key part of their terroir – indeed their top wine takes its name from the forest. The poor, dry soils of the forest mean oak trees grow particularly slowly, resulting in a particularly tight grain, creating a delicately flavoured wood to complement the delicate wines of Aÿ.  Today, the business remains a tightly knit family affair – with the 13th generation running the show. Emmanuelle Giraud is at the helm of the House, having taken over from her father Claude, who while not officially part of the business remains present and involved in key decisions. Emmanuelle’s sister Anne le Golvet-Giraud was drawn to therapeutic practices, launching the property’s trademark Craÿotherapy – chalk-based wellness program offered at their in-house hotel (they were one of the region’s first producers to welcome visitors for tastings and now to stay). It is Anne’s husband, Sébastien le Golvet, who is in charge of the winemaking.  “It’s very important to always be curious, to seek something better from the wine, from the grapes,” Giraud tells us. No one embodies this philosophy at Giraud more than Le Golvet, a force who, since he arrived in 2002, has pushed to experiment and innovate both in the vineyards and winery. Over the last two decades, he’s introduced residue-testing on their soils to confirm their triple-zero approach (zero pesticide, insecticide or fungal control spraying – something they feel is more impactful than organic certification and have long pioneered), banished stainless steel from the winery (using only terracotta and wood) and toasts every barrel the House uses himself. Constantly looking for new ways to elevate the wines further, he has recently created and started using custom barrels with sandstone heads. As Emmanuelle tells us, his philosophy is firmly that, “The best wine will be the next one.”  Henri Giraud manages to balance being at the cutting edge with the patience that traditional-method sparkling wine requires. As Emmanuelle explains, they have to make sure everything is perfect from the moment the grapes are harvested – for any mistakes will be discovered in a decade’s time. While she’s concerned with broader strategy and planning for the business, when it comes to harvest-time, you’ll find her on the winery floor, managing fruit receival, each and every year, seeing the culmination of the year’s work.  Being independent and family-owned allows them the luxury of a truly long-term vision. Each vintage they make trials, the results of which will only be revealed in 10 years’ time, but they’re investing far beyond that – planting 12,000 trees in the Argonne forest each year, making sure that Henri Giraud will still be able to use this special oak in two centuries’ time. The House’s extraordinary wines reflect this vision, testament to their relentless pursuit of quality and remarkable attention to detail. Who knows what the next 400 years will bring – but it will certainly be worth following.  Explore all current Champagne Henri Giraud listings, including the amazing MV10, disgorged in 2017, or read more about Champagne and sparkling wine  

The Giraud-Hémart family has grown vines in Aÿ for 13 generations – starting to make wine under their name in the 1950s. Today Champagne Henri Giraud is one of the region’s smallest houses – and one of the few to remain family-owned. Here, we dive into the property’s heritage with Emmanuelle Giraud 

The Giraud-Hemart family has been growing vines since 1625. Today the family’s descendants run Champagne Henri Giraud – we dive into their legacy and wines 

Celebrating 400 years of Champagne Henri Giraud 

Four centuries of Champagne Henri Giraud 

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 

We learn a lot from winemakers around the world but often it extends well beyond their vocation. No more so than with Champagne Henri Giraud winemaker Sébastien Le Golvet, whose philosophy as a vigneron extends far beyond the vineyard. Under the mentorship of his father-in-law Claude Giraud, Sébastien believes a total immersion in one’s surroundings is essential to better understand it. Working with something that is alive, Sébastien believes, requires the nurturing of a symbiotic relationship between himself, his vines and more broadly with the natural world.  Henri Giraud, one of Champagne’s most celebrated producers, takes this immersion philosophy to the extreme, from tasting their own soils to identifying varying terroirs of oak within the Argonne forest that produce the barrels for their barrel-fermented Champagnes. Sébastien guides us through the extraordinary lengths they go to, his determination to reconnect with nature, and learning to trust one’s senses.  Inquisitive wine drinkers are eager to extrapolate why doing something in the vineyard or the winery leads to the flavours in the glass. When speaking to a vigneron it is rare to receive straightforward answers, but as Sébastien explains, it is a succession of small details. In Henri Giraud’s case, a minimum of 10 years of activity and adjustments go into a single glass of Henri Giraud Champagne, as well as a lifetime of experience to help guide decisions throughout the process.  Sébastien compares his winemaking philosophy to climbing a mountain: there are many ways up and some options are more difficult than others, some can even lead to a fall, but each time he tackles that mountain, he claims he emerges with a better understanding. He remembers the pitfalls of previous vintages, or fermentations that go wrong, he takes inferences that might have led one way and chooses a different direction. Slowly finds the right path while remaining humble to the many routes available.  The multitude of factors at play in growing grapes and making wine, explains Sébastien, means a vigneron has to learn to trust one’s own sensibilities. His inferences are broad and multifaceted and not necessarily linked to winemaking. He talks about how important childhood memories of picking fresh cherries as a young boy, or the smells of his mother’s cooking, are, all providing him with a memory bank of senses that he refers to today.  100% barrel fermentation The domaine has had a fascination with oak from the Argonne forest, east of the Champagne region, since Claude Giraud took over from his father in the 1980s. Its top cuvee is even named after the forest (home to their barrels) of which 100% new oak is used in fermentation of their Argonne cuvee. Oak plays a central role across the range, with the sole exception the amphora-fermented Dame Jane Rose.  Since 2016 they have stopped using any stainless-steel tanks at all in the winery, even with their “Esprit” entry-level cuvee. Historically there were more than 150 coopers working in the Argonne forest producing barrels for Champagne production, but with the introduction of stainless-steel fermentation tanks, this tradition almost completely died out in the region. The cheaper more efficient effects of stainless steel led to most Champagne houses giving up on barrel fermentation. The obsession with oak at the domaine was not a whim. Initially, Claude Giraud invested in stainless steel to test and compare the effects of different fermentation vessels on the wine. They also tested extensively with different types of amphora including cement and terracotta before eventually opting for sandstone jars, offering the right amount of porosity to imprint texture and flavours, they are looking for. The problem with stainless steel, in Sébastien’s view, is that it doesn’t retain the tension in the wine in the same way as oak barrels; they don’t believe it translates their beloved Aÿ terroir. The reasons might not be clear cut, but their evidence in extensive tasting was enough to convince.  Sébastien states that the exchange during fermentation is much quicker in stainless steel, just two months, whereas in barrel it is between six to 12 months. This long exchange of solids, yeast and lees, according to Sébastien, creates much better equilibrium in the wine, more texture and more complexity. The small volume vessel (the barrels are just 228 litres) also creates more power and intensity in the wine.  Dealing with smaller vessels, according to Sébastien, also means more control of the product and less concerns with oxidation lowering the need for additions of sulphites (anti-oxygen agents) as well as giving Sébastien so many more options when it comes to blending. Each vintage he is managing over 1,000 barrels. While it sounds like a lot, in Champagne terms this would typically amount to four or five large tanks (maximum 10 smaller tanks) which when considering the Henri Giraud domaine has over 200 different separate vineyard plots, fermenting these all together in stainless-steel tanks would lose the specific terroir inferences that remain a vital element to the Henri Girard philosophy.  The terroirs of the Argonne Forest While Krug, Bollinger and Selosse are strong advocates of oak barrel fermentation in Champagne, perhaps the most unique element about Domaine Henri Giraud is the lengths they go to in determining what oak they use. Henri Giraud believes the terroir of the forest plays an essential role in the final effects in their wines. The wood is sourced from the Argonne forest but within the forest based on the varying soils, different parts of the forest offer different expressions. The domaine has identified at least 10 distinct terroirs within the Argonne forest. The three main regions they predominantly source from are Les Châtrices, La Contrôlerie and Les Haut-Bâtit. What is important about these specific terroirs, according to Le Golvet, is the geological positioning of the tree and the specific soil: a very poor, dry soil, causing the trees to grow very slowly producing wood with the tightest grain in the forest.  The tighter the grain, the more delicate the effect and flavour of the wood has on the wine. For Sébastien, the wines of Aÿ are very delicate and while they want to incorporate the terroir of the forest into the wine, they don’t want to overpower it. These trees take up to 250 years to reach maturity and thus Henri Giraud has partnered with the French National Forestry Office to invest in replanting programmes. For Sébastien, each of the terroirs brings distinct characteristics to the wine. The oak from Les Châtrices can emphasize the effect of acidity in the final wine as well as mineral freshness. The oak from La Contrôlerie brings red fruit and apricot notes. The oak of Les Haut-Bâtit brings power and depth and is often used in cuvees that lack the balance from maturity. How this all works they do not know, but again on tasting you can identify clear differences in the effect of using different oak from different terroirs of the forest. Sébastien is keen to share this with anyone who is interested. At Henri Giraud, they make a point of making their Vin Clair wine (still Champagne wine prior to the second fermentation in bottle) available to taste for visitors at the domaine throughout the year. They have the same cuvee fermented in the different types of oak for visitors to get a direct experience of how different they taste.
 Bespoke barrel toasting at the domaine One particular skill of Sébastien, seemingly fairly unique in the wine world, is that he toasts his own barrels. Trusting only his sense of smell and how specific toasts will affect different cuvees, Sébastien sources the barrels untoasted and toasts each one. Typically wine barrels are toasted for 30 to 40 minutes but he prefers a much lower heat but for around 90 minutes – sometimes longer –  depending on each barrel and using only his nose to guide him.  When the toasting process starts, he describes the wood smelling of flour, and as it cooks further the aromas develop to white bread, then darker, wholemeal bread, the bitterness of the green tannins drops out from the barrel and croissant buttered notes develop.  He identifies the character he is looking for, depending on the different vineyard sites, to produce a delicate balancing act between fruit and wood. Even before harvest, he has already decided how he will separate his 200 separate plots of vineyards, identifying which grapes will be fermented in specific barrels. The terroir of the Grand Cru village of Aÿ Transparency is a key part of the Giraud philosophy. They were among the first Champagne houses to farm organically, their vines have been pesticide-free since 1996. But whilst they are not officially certified, they believe recording the actual amount of chemical residuals found in the soil is a more transparent approach than an organic certification. They now identify on every bottle the molecular analysis of the wine via a QR code, identifying exactly what trace elements have reached the wine.    Receiving over 5,000 visitors every year, they are keen to share their philosophy of complete terroir immersion and transparency. Not only can you taste the different terroir effects on the oak, but they are keen to extol the virtues of the Grand Cru village of Aÿ. Sébastien explains how Aÿ has a distinct terroir, identifying key factors that resonate in the glass. The vineyards of Aÿ have a thin layer of very rich topsoil with high levels of iron oxide of which below is deep chalk mixed with clay.  The south exposition brings sun intensity that “roasts” the grapes, but a small river creates a fresh breeze that blows across the vineyards, preserving freshness. There is a distinct aniseed taste from the wines of Aÿ that brings freshness; the density of chalk, its structure and flavour can be tasted in the mouth as well as providing a distinct salinity. A part of their terroir immersion at the domaine involves tasting these elements with visitors, mixing the chalk, the clay and the iron oxide with water and tasting the effects in the mouth.  It is clear, explains Sébastien, that tasting these elements helps you to understand where you feel minerality in wine – where each element sits in the palate. Sébastien’s conviction in terroir immersion and the power of one’s senses is best extolled in the raising of his children. He has three sons aged between seven and 16 and from a very early age he and his wife were keen to immerse them in nature, to encourage them to explore their senses, and to connect them to nature. They spend much of their time in the vineyards, in the forests and the kitchen.  Sébastien recounts his memories of his mother’s cooking, the picking of fresh cherries from the tree – these are smells you never forget. He wants his children to savour these childhood memories, to help them build an extensive memory bank of sights, sounds and flavours. This immersion in their senses he believes is key to becoming a good vigneron of which he hopes his children (the 14th generation of the Henri Giraud domaine) will put into practice as Henri Giraud’s vignerons of the future. Browse all Champagne Henri Giraud listings or read more Editorial 

We explore the ultimate expression of terroir with Sébastien Le Golvet, the talented winemaker at Champagne Henri Giraud 

Exploring the ultimate expression of terroir with Sébastien Le Golvet, the talented winemaker at Champagne Henri Giraud 

Henri Giraud's Sébastien le Golvet on terroir 

Terroir immersion therapy with Sébastien le Golvet

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 

Overall, the 2024 crop was Bordeaux’s smallest since 1991 – with the region producing 332 million litres of wine. This is in part due to declining vineyard area, with the yield averaging 35hl/ha – slightly higher than that of the 2021, 2017 or 2013 vintages. Diving further into this, however, reveals a significant difference between the Left and Right Banks – with 34.4hl/ha in Saint-Emilion, Pomerol and Fronsac, versus 30.8hl/ha on average in the Médoc and Graves. It's a year where it is hard to generalise, even within each commune, for neighbouring estates produced drastically different results in the vintage. As David Suire of Ch. Laroque explained, there were such varying approaches to the year’s challenges, something that is echoed in the wines produced. RIGHT BANK This year, once again, the Right Bank offered more consistency than the Left. Although it was still heterogenous, the smaller size of estates lent itself to success – making it easier to treat and harvest in the narrow windows of dry weather. Wherever you were, however, it was a challenging year: as Christian Moueix said, “You cannot replace the sun.” Beyond the more overcast weather, hail hit Fronsac, Canon-Fronsac and Lalande-de-Pomerol in June, with some estates losing their entire crop, although Pomerol and Saint-Emilion largely escaped.  Pomerol For Noëmie Durantou (Ch. l’Eglise-Clinet), 2024 was a tough opponent – but one she knew they could win against, and looking back at it, what a game it was: as her wines certainly indicate. For her, there were several key elements to the growing season: the cloud cover that reduced diurnal variation (she recalls warm, sleepless nights), the late véraison, foggy mornings that increased botrytis pressure in the run-up to harvest, and the year’s humidity level – 80% in Pomerol, versus a more normal 50-60%. The hail that struck Lalande-de-Pomerol in June strayed a little into Pomerol, but most estates escaped any serious impact – with just a touch felt at Lafleur at Feytit-Clinet, for example. Treating the vines posed an additional challenge for the team at Clinet, who have to take into account the timetable of the neighbouring school, working around the presence of children and/or parents, on top of inclement conditions. Harvest began in Pomerol slightly earlier than in neighbouring Saint-Emilion, kicking off from as early as 16th September, but most starting to bring their Merlot in from 20th of the month, and the Cabernet finished by 4th October (although some producers had everything in the winery by the end of September). Yields varied significantly – from the second-smallest harvest since 1991 at Belle-Brise to the second-largest crop in the last 25 years at Lafleur.  Jeremy Chasseuil (Feytit-Clinet) emphasised how, for him, leaving the wine on lees for two months was key – helping to build texture, releasing polysaccharides that lend weight to the wine’s mid-palate. While 2024 did not produce the most opulent styles of Pomerol, the best retain a plush texture and exoticism to the aromatics that complements the naturally high acidity of the year. Although quality isn’t entirely consistent here, there are many highlights. Our favourites in Pomerol: Belle-Brise, Eglise-Clinet, Guillot Clauzel, La Conseillante, Lafleur, Le Pin, Vieux Château Certan Saint-Emilion There was a notable difference between Pomerol and Saint-Emilion – with Saint-Emilion seeing significantly more rain in April to June, with 278mm versus 199mm in Pomerol. Despite that, the region’s limestone plateau came into its own – allowing the water to drain away from the vines, despite hitting record levels (at Ausone, the level in their well was the highest-ever). August, however, was significantly drier on the Right Bank – with around half the normal rainfall.  Harvest started a little later here. Although some started as early as 17th September (Cheval Blanc, Canon, for example), most waited until 27th, and with several estates holding off until early October. Despite the year’s challenges (“It was a war,” said Cheval Blanc’s Pierre-Olivier Clouet), the yield across the appellation worked out as fairly average – although varied between estates. At Angélus, it was Hubert de Boüard de Laforest’s 40th vintage, and the bottle bears a cut-through of a tree-trunk with 40 rings as a tribute. At Ch. Beauséjour, it was the first vintage to be made in Joséphine Duffau-Lagarrosse’s new winery, something for which she was particularly appreciative, allowing her to divide the vineyard into smaller parcels and work with greater precision. Saint-Emilion is so large that there is inevitably a broad range of wines this year. Although there are some that can be overly tart, austere or astringent, there are some very impressive, textured, layered wines that retain tension yet also offer plentiful fruit and weight. Cheval Blanc, for example, is a very serious wine that will need time – a real contrast to many of the 2024s that are set to be approachable early. It’s worth highlighting Ch. Laroque, an estate that we have been watching for a while, and where David Suire continues to make wines that offer extraordinary value. Our favourites in Saint-Emilion: Ausone, Cheval Blanc, Clos de Sarpe, Figeac, L’If, Laroque, Tertre Roteboeuf LEFT BANK Yields on the Left Bank were – other than for the whites – generally lower than on the Right. It varies significantly between estates, however, with yields varying from the smallest-ever to normal. While there are years when lesser sites in the Médoc and Haut-Médoc excel, 2024 largely wasn’t – this was a vintage where the quality of terroir, as well as the means to make stringent selection were key. We found quality here was even more heterogenous than across the Gironde, however there are still some brilliant wines to be found.  Saint-Estèphe Quality in Saint-Estèphe is mixed in 2024. The commune’s cooler, northern position was not necessarily an advantage this year, nor were the more clay-rich soils – which have been such an advantage in recent warm and dry vintages. Estates with vines on free-draining gravels fared best, however there are many variables to the quality equation this year. While not every estate thrived, there are some serious highs here, with Montrose vying for wine of the vintage – offering a level of density and complexity that really stood out in our tastings. It’s the second rendition of their Grand Vin to come exclusively from Terrace Four (T4), a decision that is clearly being rewarded, and we also got our first taste of the not-yet-released wine made from T3, called “Terrasse 3” – a wine that will be worth looking out for. The team at Montrose emphasised how the appellation saw less rain between 1st August and 8th September compared to those further south, receiving just 50mm in this critical period (versus 80mm for Margaux and 120mm for Pessac-Léognan), something they felt was key to their success. Calon-Ségur was one of several estates that chose to abandon organics this year, using conventional sprays between budburst and flowering, before reverting to their normal regimen, allowing them to achieve the same yield as 2023 at 45hl/ha (versus 29hl/ha at Cos d’Estournel, who continued on their path to organic certification). Technical Director Vincent Millet – who is at the helm of Calon’s entire portfolio of estates, including Ch. le Prieuré in Saint-Emilion and Vray Croix de Gay in Pomerol – noted how the later-ripening Cabernet Sauvignon was particularly tricky this year, making the Left Bank more challenging than the Right in the vintage. Our favourites in Saint-Estèphe: Montrose Pauillac Pauillac had the lowest yield of any of the Left Bank communes this year, with the average across the appellation 29.5hl/ha (versus a 20-year average of 45.7hl/ha). Between estates, figures varied wildly – from the miniscule 11hl/ha made at Ch. Latour (a level more typical in Sauternes) to 33hl/ha at Ch. Lafite Rothschild, for example, looking at two estates working organically. June was drier here than elsewhere, meaning the vines started to suffer from hydric stress earlier – with some properties even saying they saw the vines’ development stall in August, with the first rains at the end of the month a welcome reprieve. Harvest here stretched through the first 10 days of October, with botrytis significantly impacting yields. Pichon Baron estimated they lost around 10hl/ha to rot – just one of the sacrifices that made 2024 such a costly vintage to produce. The resulting wines tend to have higher portions of Cabernet Sauvignon, and vary in both style and quality. Generally, these are lighter-styled Pauillacs, not having the firmness or power that this appellation can often offer. Although some don’t have sufficient concentration or structure, the best have trademark Pauillac graphite, complemented by more delicate florals, crunchy fruit, a saline quality and fine tannins. The vintage also marks 100 years of Batailley under the Borie-Castéja family, earning a commemorative label for this benchmark Claret, as well as a special Marie-Jeanne format. Our favourites in Pauillac: Batailley, Lafite Rothschild, Pichon Comtesse, Pontet-Canet Saint-Julien At Chx Léoville and Langoa Barton, Damien Barton Sartorius compared 2024 to running a marathon – tiring, but satisfying, and leaving you ready to sign up for another. The average yield for the appellation was a little bit higher than that of Pauillac, with 32.5hl/ha – still almost 25% down on the 30-year average. As with further north, however, the average is only an average: Beychevelle cropped at 43hl/ha, while selection took the yield down to 23.6hl/ha at Ducru-Beaucaillou (with the team throwing away almost 10hl/ha), and figures varied significantly between estates. At Beychevelle, Philippe Blanc explained how after just 4mm rain between 1st and 28th August, the rain recommenced and never stopped. Their Merlot was more impacted by mildew and therefore the blend is higher in Cabernet Sauvignon (55%) – something echoed elsewhere. The poor flowering and resulting coulure meant looser bunches, explained Barton Sartorius, something which he felt really helped them avoid significant botrytis pressure at the end of the season.  The smaller size of Saint-Julien means it is a little more consistent than Pauillac, however, it’s not entirely uniform. The fruit tends to be a little sweeter, while still on the red rather than black spectrum, the wines offering bright acidity and the best fine tannins and good balance, with the oak seamlessly integrated.  Our favourites in Saint-Julien: Ducru-Beaucaillou, Léoville Barton Margaux Although no appellation is consistent in 2024, Margaux produced some particularly impressive wines. Rainfall may have been higher here than further north, but the slightly warmer microclimate and shallow soils perhaps allowed the grapes to ripen earlier and more fully. There are still some light and tart wines, however the likes of Palmer, Margaux and Rauzan-Ségla produced wines that are among the best of the vintage. Ch. Margaux pointed to their early flowering as a significant advantage in the vintage – “a blessing”, in Aurélien Valance’s words. The 2024 vintage was meant to be the final year of organic conversion at Ch. Rauzan-Ségla, and as the mildew pressure hit, the team had a serious conversation about whether or not to persevere. With the owners’ endorsement, they decided that long-term it was the right decision to continue – knowing it would mean a sacrifice in yield (with a final crop of 30hl/ha), but it would also be their first organically certified wine. The Palmer team – long biodynamic – had to spray as many as 10 times by hand, unable to get their tractors into the vines. However you explain it, the results here speak for themselves – with wines that combine pretty, heady florals with sweet and supple fruit, as well as fine but persistent, powdered tannins: some serious wines that would deserve consideration in any vintage. This was also the one appellation where second wines – such as Alter Ego de Palmer and Pavillon Rouge – showed real quality. Our favourites in Margaux: Brane-Cantenac, Giscours, Palmer, Margaux, Rauzan-Ségla Graves + Pessac-Léognan Yields for the reds in Pessac-Léognan were – unusually for the year – average. The whites are discussed separately below, but the reds from Graves and Pessac-Léognan were as varied as elsewhere. There are, however, some charming wines, and some very impressive wines that defy the year’s reputation. This southerly region saw more rain in August, not benefitting perhaps from the hydric stress that was so key elsewhere – but the rain that month wasn’t excessive, just in line with the norm. At Smith Haut Lafitte, September saw more than three times the average rainfall (164mm versus 48mm), making the harvest far from easy. Although Carmes Haut-Brion picked 40hl/ha, they only vinified 24hl/ha – another example of the extreme selection that quality-focused estates put in place this year. Guillaume Pouthier – who always offers a unique perspective on a vintage – is doing something different with his ageing this year, reducing the temperature of the cellar from 16°C to 12°C over the two-year élevage, to preserve the fruit profile in the wine and encourage tartaric precipitation, thereby reducing the acidity level. Time will tell how this works, so it will be fascinating to retaste the wine in bottle. Domaine de Chevalier produced some particularly impressive wines this year, and although they have long worked organically and biodynamically, this year they made the difficult decision to use conventional treatments – something that has been rewarded, with both generous yields (48hl/ha) and very high quality. Our favourites in Graves + Pessac-Léognan: Les Carmes Haut-Brion, Domaine de Chevalier, La Mission Haut-Brion Dry whites Some people are raving about the dry whites in 2024 – and, while there are absolutely some brilliant whites, quality is far from uniform. The first Sauvignon Blanc grapes were harvested in Sauternes on 20th August, although most producers we spoke to picked from the very end of August/early September, with the last Semillon brought in on 23rd September. Yields were average to generous, with mildew much less of a problem – 30 hl/ha at Margaux, 32hl/ha at Smith Haut Lafitte, 38hl/ha for Haut-Brion and La Mission Haut-Brion, 48hl/ha at Domaine de Chevalier, for example, while on the Right Bank the Lafleur stable brought in around 40hl/ha and the Nicolas Thienpont team cropped 43hl/ha and 47hl/ha respectively at Alcée and Charmes-Godard. The cooler conditions preserved a backbone of acidity in the wines, with accordingly low pHs – analytically speaking, the wines have the highest acidity since 2014. The aromatics are precise, dominated by green rather than stone-fruit, and certainly not at the more tropical end of the spectrum. If anything, some of the wines can feel a little green or lean. As Smith Haut Lafitte’s Technical Director Fabien Teitgen explained, the challenge was to get ripeness that would cloak the acid of the vintage, the flesh to complement its skeleton. Owner Florence Cathiard feels the result is “one of [their] best whites”. Similarly at Ch. Margaux, they did a little more bâtonnage to give weight to Pavillon Blanc – and it’s one of the stars of the year. In some, you can feel the growing season’s excess of water – the generous yields resulting in wines that don’t have sufficient concentration. Sauvignon Blanc seemed to fare better than Semillon, which was more susceptible to rot and was more challenging to get phenolically ripe – and many of our favourites were pure Sauvignon, or heavily driven by the variety. Comparisons were varied – although 2021 was common for its acid backbone and cooler conditions. At Lafleur, Omri Ram is convinced that 2024 Les Champs Libres is one of their best, sitting comfortably alongside the 2023 and 2021. At Ch. Margaux, Aurélien Valance looked to a surprising vintage – the warm 2018 season, but in which the wine has a similar saline imprint to that found in 2024. Our favourites: Charmes-Godard, De Fieuzal Blanc, Domaine de Chevalier Blanc, Haut-Brion Blanc, Les Champs Libres and Grand Village Blanc, Pavillon Blanc du Ch. Margaux Sauternes + Barsac It’s easy to assume that because rain and rot threatened the crop in 2024, it was perfect for the sweet wines of Sauternes and Barsac: but very specific conditions are required for noble rot to set in, and if they aren’t met, you get grey rot – with both caused by the same fungus, botrytis cinerea. The first pass in Sauternes tended to take place at the end of September, with alternating wet and dry conditions encouraging the development of noble rot from the start of October. But teams had to battle grey and sour rot too – and a high degree of selection was key. At La Tour Blanche, they made just 3hl/ha for their Grand Vin, a tiny yield that matches that of 2021. The grapes that made it into the tank offered high acidity levels, precise aromatics, but not the luscious concentration of the very best vintages. Based on our tastings, the resulting wines are good to very good, if not quite exceptional, but may have particular appeal to consumers who prefer a lighter style of sweet wine – with brighter acidity and slightly lower residual sugar levels. They are vibrant and pure, with plenty of concentration, if not as hedonistic as more lauded years – and will be approachable at an earlier stage in life. Our favourites: Doisy Védrines, Guiraud, La Tour Blanche, Suduiraut Explore Bordeaux 2024 – including our full vintage overview

Following on from our full vintage overview, and as the Bordeaux 2024 en primeur releases continue, we explore how each subregion performed in the year, as well as identifying our favourite wines in each

Bordeaux 2024: a breakdown of the vintage by region, with top picks from Saint-Estephe, Pauillac, Margaux, Saint-Julien, Saint-Emilion and Pomerol

Bordeaux 2024 – breaking the year down by commune

Bordeaux 2024: the vintage by commune

Bordeaux is incredibly varied – with hugely different styles of wine produced across its appellations. Here, we run through everything you really need to know about each of the main subregions – and the best estates in each  

Explore Bordeaux, subregions, their wines and top estates – in Saint-Estephe, Pauillac, Saint-Julien, Margaux, Graves, Pessac-Leognan, Pomerol, Saint-Emilion 

Your guide to Bordeaux’s subregions, wines and top producers

Your guide to Bordeaux’s subregions   

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

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Everything you need to know about the Hospices de Beaune

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

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

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

Understanding yield and quality in wine

Yield and quality: is less really more?

Domaine Giraud

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