In March this year, Opus One announced that they’d hired Meghan Zobeck as Director of Winemaking. It’s the first step in the transition as longtime winemaker Michael Silacci looks to step away from the business over the next five years. Silacci has been at Opus since 2001 and is a bonafide legend in the valley today – finding a suitable successor is no small task.  Zobeck wasn’t necessarily the obvious choice. She’s risen rapidly through the ranks of Napa’s winemaking elite – but only moved into the world of wine in 2012. That move was a leap of faith for Zobeck – an unlikely one for someone immersed in the world of NFL.  Zobeck grew up in Greeley, Colorado – “a cowtown” in her words, but one that happened to be where the Denver Broncos held their training camps each year. Throughout high school, she spent her summers working for the team – as many locals did. She went off to college (then pre-med), but kept working for the Broncos, moving to full-time while she studied for her MCATs.  In her senior year of college, she did an internship with the team, working with the scouts and sitting in the “war room” on draft day. “I loved the action, the fast pace of it,” she says. At around the same time, she realised that medicine wasn’t for her – instead she took a role negotiating player contracts for the Broncos, becoming one of only a handful of women in the job, and loved it.   It was a weekend trip to Los Olivos in the Santa Ynez Valley that sparked her interest in wine and – more specifically – winemaking. Back home, she found an ad in a local magazine for a homebrew shop – offering the chance to buy grapes during harvest. Soon she was experimenting, fermenting batches of wine in her basement and having bottling parties with friends. “I just saw how it really brought people together,” she says. She travelled to more wine regions and fell for the way wine combined science, creativity, history and community. The NFL had served her well, but it was time to take that leap and leave the Broncos behind.  She did her first vintage at Clos Apalta in 2012, and didn’t look back – doing harvests in Piedmont, Bordeaux and the Barossa, before zoning in on Napa – first at Stag’s Leap Wine Cellars and Screaming Eagle, then taking a job with star consultant Philippe Melka. Most recently, Zobeck was winemaker at Burgess Cellars – where she had free rein to shape the wines, from the vineyard through to the winery.  Zobeck first met Michael Silacci at Premiere Napa Valley – her first showing barrel samples from Burgess. Silacci came over to taste and then – in a clear display of approval – kept sending others her way. Zobeck was focusing on a fresher style of wine, a return to the Burgess of yesteryear, but was also working towards a regenerative approach in the vineyard – and soon discovered that the Opus One team was doing similar experiments. She and Kimberlee Marinelli – Assistant Winemaker & Viticulturist at Opus One – connected and started discussing everything from pollinators to native ferments. Zobeck was struck by the clear lack of complacency from a property that had no need to prove itself further. Little did she know that Silacci was observing what she was doing with particular interest – and decided she could be the heir to his throne.  “It’s a job you never, in a million years, think is going to become available,” says Zobeck of the moment she was approached about becoming Opus One’s Director of Winemaking. There was no way she was turning down such an opportunity – especially not when she would have the chance to work with Silacci for several years.  Zobeck will take on Silacci’s legacy at Opus One – an estate that has been constantly evolving during his tenure. Organic farming has been the norm at Opus for over two decades, although they only sought certification in 2021. For over a decade, Silacci trialled biodynamics but found the vines became too vigorous. He abandoned the approach before launching into regenerative farming from 2022. The estate now works with permanent cover crop between the vines, helping lower temperatures in the canopies, retain water in the soils and lengthen the ripening period, without increasing sugar levels. Silacci has been experimenting with dry farming since 2007 and reducing irrigation across the estate, although it remains essential for now. The team hopes, however, to be able to dry-farm a new site in Oakville once the vines are established. This work is all reflected in the wines being produced today.  “Opus One is not the stereotypical Napa of the early 2000s,” Zobeck emphasises. “It’s a fresh style, and to keep that we have to farm differently.” Silacci is famous for saying he doesn’t want his footprints in the vineyard or fingerprints on the glass, but Zobeck notes how you can see his influence on Opus One over the years, especially from 2004. From 2019, however, she feels the wine has evolved further – with greater transparency of the site. The 2023 has just been bottled at a modest 13.5% alcohol – indicative of the estate’s current approach, one that she intends to continue.  Silacci plans to stay for at least three years, working alongside Zobeck as Chief Winemaker. A transition period of this length is testament to Opus One’s long-term view – looking not just at the next vintage, but the next decade and beyond. Zobeck’s excitement for the role is clear – as well as her admiration for the existing team. As in the NFL, a good captain is key, but it takes more than one player to win a game – and Zobeck completes an already impressive line-up. It’s one hell of a hand-off.  The 2022 vintage of Opus One is released on 1st September 2025. Browse all current listings of Opus One or read more about California 

Originally a joint venture between Robert Mondavi and Ch. Mouton Rothschild, Opus One is one of Napa’s most famous estates – and it now has a new Director of Winemaking. We sat down with Meghan Zobeck to find out more about the ex-NFL powerhouse taking over from Michael Silacci

Meeting the new woman at the helm of Napa’s Opus One – Meghan Zobeck, who is taking over from Michael Silacci to make some of the valley’s most famous wines 

Opus One’s new Director of Winemaking: Meghan Zobeck 

Draft pick: Opus One’s Meghan Zobeck  

When Au Bon Climat founder Jim Clendenen unexpectedly passed away on 15th May 2021, aged just 68, there was an outpouring of sorrow. FONDATA’s Gavin Lucas considers how the one-of-a-kind bon vivant shaped Santa Barbara and California’s wine scene today

Gavin Lucas looks back on the life and times of Jim Clendenen, California’s original wild boy and a pioneer of fine Chardonnay and Pinot Noir in Santa Barbara

The legacy of Jim Clendenen – Au Bon Climat

The legacy of Au Bon Climat’s Jim Clendenen

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

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

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

Exploring Gaja’s Pieve Santa Restituta

Exploring Gaja’s Brunello di Montalcino Pieve Santa Restituta

Brunello di Montalcino is so well-established in today’s world of wine that it is hard to believe how relatively young its international reputation is. This pure expression of Sangiovese, from the vineyards around the hilltop town of Montalcino in Tuscany, was first produced in the 1860s, named by Ferruccio Biondi-Santi (of Biondi-Santi). The name Brunello di Montalcino comes from the supposedly superior clone of Sangiovese identified by Ferruccio’s father, Clemente Santi – known as Sangiovese Grosso or Brunello. Prior to 1968 (when Montalcino was first awarded DOC status), however, there were just 11 producers operating in the region, working around 60 hectares of vines. It was these pioneering wine-growers who went on to set up the Brunello Consorzio (consortium), determined to promote and protect the region’s vinous heritage. By 1980, when Montalcino was granted DOCG status, that number had grown to 53. Today there are over 250 producers, with more than 2,000 hectares under vine, and Brunello di Montalcino is one of Italy’s most famous appellations. As the vineyards have expanded, so has the range of styles, showcasing the varied terroir and distinct characteristics of single vineyards or Crus. Made exclusively with Sangiovese, Brunello di Montalcino is released a minimum five years after the vintage, spending at least two of those in oak. Riserva wines are aged an additional year prior to release. Producers generally also make a Rosso di Montalcino, with an additional 500 hectares classified for Rosso di Montalcino production. These wines can be released after just one year, with any vessel permitted – producing a softer, earlier-drinking style of Sangiovese. The famous Brunello clone long thought to define the wines is a myth, and various clones are planted in the region today. Subzones or crus? Despite the climatic differences in Montalcino, the concept of subzones within the region is still in its infancy and not without controversy. Some producers are reluctant to endorse a terroir-specific identity to Montalcino because many have vineyards throughout the region. They use this to their advantage, identifying how certain sites perform better than others in different vintages, allowing them to play around with their blends when designating what becomes their Brunello and what is relegated to their earlier-released Rosso di Montalcino. Another reason for their reluctance is that there is plenty of variation even within these subzones – with microclimates varying dramatically, most notably in altitude. It is the altitude of the site that, for many Brunello producers, is the central factor in determining the style and in many cases the quality of the wine. If this is the case, high-altitude vineyards could have more in common with each other than neighbouring vineyards lower down the slope that sit within the same subzone. For this reason, single vineyards or Crus could be a more accurate way to divide and break down Montalcino’s terroir. Subzones may not tell the whole story, but it is easy to understand why producers with vineyards located in a specific subzone with a distinct identity are keen to highlight this area – a village, so to speak, rather than single vineyard or Cru. The north-south divide The Montalcino vineyards are positioned in a circle around the eponymous hilltop town. At the simplest level, the sub-zones to the north of the town are cooler than those to the south. Producers in the northern regions of Montosoli and Canalicchio tend to pick their grapes later than those in the south. In the 2016 vintage, for instance, lower sites in the south were picked three to four weeks earlier than those in the north. However, altitude and prevailing winds also play an important role in the microclimate of a site. The vineyards in the hottest region of Montalcino in Castelnuovo dell’Abate are also some of the closest vineyards to Mount Amiata, which – at 1,740 metres’ altitude – is large enough to create its own weather patterns. This is hugely beneficial, creating a larger diurnal shift in temperature. While each of the sub-zones (particularly Montosoli) has a distinct flavour profile, the important factors of altitude, picking dates and winemaking techniques all play a role in influencing the region’s rich and varied tapestry of wine styles. The North Montosoli Directly to the north of Montalcino sits the Montosoli hill, perhaps the most distinct terroir in the region and certainly the sub-region that most strongly champions the sub-zoning of the appellation. Montosoli is distinct not just because of the cooler climate but also because of its soil, a distinct calcareous galestro. Wines from Montosoli have a finesse to the tannins as well as heightened aromatic capacity. The galestro rock brings a sapidity and mineral salinity to the wines. Despite the notable elegance, the wines also match the power and intensity of some of the other great sites within Montalcino. Altesino was the first producer in the region to produce a separate exclusive Montosoli cuvée in 1978. Baricci (one of the founding fathers of Brunello), however, has only ever had vineyards in Montosoli and has long been aware of the qualities of the subregion, claiming that it has been legendary for wine production for hundreds of years. Key producers: Altesino, Baricci, Caparzo, Livio Sassetti, Canalicchio di Sopra, Valdicava Other wineries based in the north of Montalcino, outside Montosoli, make some of the region’s best single-vineyard Crus, including Il Marroneto’s Madonna delle Grazie and Castiglion del Bosco’s Campo del Drago. Torrenieri To the far northeast lies Torrenieri; here the compact clay soils create more tannic, burly examples of Montalcino. Key producers: Sasso di Sole, Citille di Sopra Central + The South Tavernelle Tavernelle is home to some of the most famous producers in Italy. Soldera’s Case Basse vineyard is situated here, alongside neighbouring Pieve Santa Restituta, the Brunello estate owned by the Gaja family. For Gaja, Tavernelle is in a particularly privileged position, facing south and southwest with an altitude ranging from 320 to 350 metres, characterised by an extremely windy, dry, and bright microclimate. The wind protects the vineyard from damp, alleviating disease pressure, while the altitude slows ripening, allowing the grapes to gain flavour complexity but retain freshness. Poggio Antico is also based in Tavernelle and has some of the highest vineyards in the whole of Montalcino, with an average elevation of 480 metres. At this height, the soils are rockier and more calcareous, providing good drainage for the vines while the vineyards are exposed to sea breezes coming from the Tyrrhenian Sea, extending the ripening period and creating more flavour complexity in the grapes. Key producers: Soldera, Pieve Santa Restituta, Poggio Antico Sant’Angelo in Colle To the southeast of Tavernelle, these south-facing vineyards feel the full effect of the localised weather patterns caused by Mount Amiata. Here lies an historic part of the Montalcino appellation with many of the original founders of the consorzio based here, including Lisini, Il Poggione, Talenti, Argiano and Col d’Orcia. This region is known for producing the most muscular and powerful styles of Brunello. Key producers: Lisini, Giodo, Talenti, Il Poggione, Argiano, Col d’Orcia
 Castelnuovo dell’Abate Castelnuovo dell’Abate – the warmest subzone in the appellation – expanded considerably in the 1980s and 1990s. Here the wines – such as those of Poggio di Sotto and Mastrojanni – are known for their balance between elegance and power. Alongside its two vineyards in Central Montalcino, Le Ragnaie also has a vineyard in the region. The slopes are south-facing, however their warmth is moderated by the cooling winds of Mount Amiata, which are particularly noticeable at night. This diurnal shift slows ripening, retains acidity and allows for more complex aromatic and flavour components to develop in the grapes. The mountain also acts as a protector, helpfully diverting storms from the region and protecting it from hail. The varied altitudes within the subzone can produce contrasting styles of Brunello: Poggio di Sotto, for instance, will harvest its vineyards on lower slopes four to five weeks before their higher vineyards. Key producers: Poggio di Sotto, Le Ripi, Mastrojanni, Le Ragnaie Central Montalcino + Le Croce The central vineyards, located directly to the southeast of the town of Montalcino, are home to some of the most traditional styles of Brunello, known for their ageing potential. Both Fuligni and Salvioni have southeast-facing vineyards that sit between 380 and 450 metres above sea-level on soils of chalk, schist and stony marl – and Salvioni in particular argues that this altitude is key to producing the best Brunello. Further south in the Croce subzone, Cerbaiona has become a cult name in Montalcino, offering a unique expression of the appellation largely due to its distinct patch of terroir. The vineyards of Cerbaiona are located on limestone shale and sandy soils, which – combined with a gentle touch in the winery – produces a particularly elegant style of Brunello. Of course, Le Croce is also home to Biondi-Santi – the estate that started it all. The original Il Greppo property is situated at 480 metres above sea-level and, despite the high altitude, the estate likes to pick early, opting for a distinctly fresher, structured Brunello that is austere in youth but built to age for decades. Key producers: Biondi-Santi, Cerbaiona, Fuligni, Salvioni Read more about Italy or explore all current Brunello di Montalcino listings

Arguably the ultimate expression of Sangiovese, the Brunello di Montalcino appellation produces some of Italy’s finest wines – but the region is hugely varied. Here, we examine its subzones – one of the keys to deciphering the wines – and highlight the top producers in each

Exploring Brunello di Montalcino – these special Sangiovese wines and the appellation’s varied terroir, and the varied styles it produces

Your guide to Brunello di Montalcino wines

Your guide to Brunello di Montalcino

After the elegance of 2018 and the power of 2019, the 2020 vintage in Montalcino had a lot to live up to.  As Cerbaiona’s Matthew Fioretti told me, “On paper, it looks like a good vintage.” Statistically speaking, the median temperature was good, the rainfall plentiful without being excessive – it looks perfect. But the year was much trickier than those numbers suggest, and one that tested producers.  For Castiglion del Bosco’s Cecilia Leoneschi, it was the first vintage where she really felt the effects of climate change in Montalcino – with 64 days without a drop of water over the summer, something she’d never seen before. It was, she emphasised, a vintage that varied significantly across the appellation – especially between lower and higher altitudes – as was reinforced by our conversations about the year.  Nicola Vaglini (Pieve Santa Restituta) emphasised how important rain in the preceding winter was, replenishing water reserves, which were topped up by additional spring showers. The season started with even budbreak in temperate conditions. Frost hit in late March – striking northern parts of the region most acutely (Vaglini reported losing 15% in some sites), although most escaped unscathed.  The season continued, satisfyingly uneventful, until July, when the weather shifted. It became very warm, with spikes of heat – reaching 38 and even 40°C. In these brief but powerful heatwaves, the vines shut down and development stalled. Fioretti noted how he saw base leaves drop, meaning the grapes were no longer shielded from the full force of the sun. Despite the heat, Poggio di Sotto’s Leonardo Berti commented how relieved he was that temperatures didn’t hit over 40-41°C, as has now become relatively normal in Castelnuovo dell’Abate – a mark of the changing climate.  In among these heatwaves were sudden downpours – rain that fell hard and fast, with up to 100mm falling over three hours, arriving too quickly for the soils to absorb meaningfully, and causing flooding issues (at Cerbaiona, they were left with 20cm of water in one of their cellars). This is one of the reasons why, Fioretti argues, the year’s statistics are so misleading. Although there was technically an average volume of rainfall, the conditions meant that it was – at Cerbaiona – effectively a drought year, because so little made it to the vines’ roots.  Leoneschi explained how at Castiglion del Bosco, they are increasingly using cover crops to help retain water in the vineyard. They generally have less rain – shielded by Mount Amiata on one side and coastal winds coming from the opposite direction – but didn’t see major water stress in 2020. At Poggio di Sotto, Leonardo Berti commented that 2020 provided just the right quantity and quality of rain, falling at times that didn’t disrupt work in the vineyard.   The weather cooled off in late August, with rain falling at the end of the month. At Poggio di Sotto, they’ve been using a clay spray (zeolite) for several years – spraying the canopy to help protect the leaves against rain in the run-up to harvest, something Berti noted was particularly helpful in 2020. Lower-altitude sites saw more rain versus those higher up the region’s slopes. Cecilia Leoneschi explained how the diurnal shift in the final stage of the growing season was key to the vintage for her, allowing the fruit to ripen fully.   Mid-September saw heavier rain – and this provides a divide in terms of harvest dates, with some choosing to pick before and others after. At Poggio di Sotto, where harvest is always early, they started bringing fruit in around 4th September – relatively late for them, Berti explained, as the cooler August weather had slowed ripening by around a week. Nicola Vaglini reported a wave of warmer weather from 5th to 15th September, with rapid sugar accumulation in the grapes, and they started to harvest on 15th. At both Cerbaiona and Castiglion del Bosco, the harvest commenced on 20th September, while some producers – such as Casanova di Neri – held out even longer.   Cerbaiona’s Fioretti emphasised how important it was to manage yields in 2020, with it being all too easy to over-crop and have green tannins. Most producers agreed that multiple passes were essential this year. At Castiglion del Bosco, Leoneschi explained how even within the same plot they were harvesting vines up to 12 days apart – reflecting the stress of the season.  By early October, all the fruit was in the winery, and most producers said sorting was key – whether by hand or machine, to remove any sunburnt or shrivelled grapes, especially those that also may not have ripened fully.   The risk was potentially high alcohol and hard tannins, from the heat of the year. Extraction was a focus of winemakers’ efforts in the winery – being careful not to overwork the must. At Cerbaiona, Fioretti emphasised how a three-day cold soak helped bring out “the exuberance of the fruit”, and he kept the fermentation at a cool maximum of 26°C, moving it as little as possible, and taking it off the skins as soon as it was dry (after just seven to 10 days).   By contrast, Leonardo Berti opted for a long but gentle extraction – allowing the wine to stay on its skins for 50-55 days, only wetting the cap as needed during that period; an opposite approach to 2019 where he could pump over as much as he wanted, such was the phenolic ripeness. At Castiglion del Bosco, Leoneschi noted how she used bâtonnage to build complexity (not structure), stirring the fine lees after malolactic to create a fine and elegant, but not full wine.  For Berti (Poggio di Sotto), he kept their 2020 Brunello in cask for three years (the norm for them, two years is the legal minimum), while a vintage like 2019 spent an additional 10 months in wood. Many producers seemed to stick to the minimum 24 months in oak, wanting to capture the wines’ fruit and freshness as much as possible. Some feel that even that is too long – a sentiment echoed in other parts of Italy when it comes to cask ageing (such as Barolo), with producers suggesting that these minimum requirements are no longer compatible with the climate and style of wines being produced today.  Despite the heat, the 2020s seem to have surprised producers – offering more freshness than they might have expected. It is clear that the best are open and approachable wines, with plenty of fruit and freshness – although this isn’t consistent across the region.  For Fioretti, the vintage doesn’t quite reach greatness – the phenolics limiting it, not quite having the finesse of the best years. That said, the resulting wine is open and fruit-forward, with moderate, sweet tannins, giving great pleasure already; it is, as he says, “good to go” – a modest appraisal of a fantastic wine this year.  Berti at Poggio di Sotto describes 2020 as “a compromise between the elegance of 2018 and the power of 2019” – and more approachable than either. He thinks perhaps it’s closest to the legendary 2016, not quite as structured, but with more elegance and immediacy. Both Vaglini and Giacomo Neri (Casanova di Neri) suggested the vintage is a blend of 2015 and 2016, with finesse, elegance and expressive bouquets, as well as good acidity. Leoneschi echoed this, emphasising the precision and density of aromatics, but added that 2020 is a particularly terroir-driven year – one where site speaks louder than the producer.  The 2020 vintage doesn’t reach the absolute heights of a year like 2016, and it’s important to be selective. The best wines, however, have an immediate charm and elegance that – as Fioretti said – should not be underestimated. These are still serious wines. Giacomo Neri perhaps put it best, describing 2020 as “an underdog vintage” – one that is set to surprise people over the next two decades.  Explore all current 2020 Brunello di Montalcino listings or read more about Italy 

The epitome of fine Sangiovese, Brunello di Montalcino has rapidly become a staple for collectors. As the latest vintage is released, Sophie Thorpe caught up with some of the region’s top producers to dive into the 2020 growing season and the wines it produced 

We talk to top producers about the 2020 vintage in Brunello di Montalcino and the elegant, open wines the year produced 

Discover the 2020 vintage in Brunello di Montalcino 

Brunello di Montalcino 2020: vintage overview 

Whilst for some of us a trip to Italy still seems far away, this postcard from Florence provides us all with inspiration for our future adventures. As a wine lover and epicurean, how would you best spend 24 hours in Florence? 
I’m a great epicurean or as we say here in Italy I’m completely into “dolce vita”. Florence has so much to give that after one life spent here I’m still surprised and astonished by the beauty you can find behind every corner. I love to have an early morning walk along the Arno river, there is a very easy path that follows the two banks.  Walking from bridge Santo Spirito to San Niccolò bridge and back when the city wakes up gives me cheerfulness and the good mood to start the day. A good espresso in one of the many caffetterie on the way and life smiles! If the day is not too hot I’ll probably climb the hill of Michelangelo from the San Niccolo gate and enjoy the best view of the city from Piazzale Michelangelo and the church of San Miniato. 
 At this point, I’ll probably descend from “via dell’erta canina” for a sandwich and a glass of wine at “Fratellini”, one of the oldest and most traditional kiosks of the city! Ill end the day resting in Boboli garden, the Medici private backyard of Palazzo Pitti before heading to “Santino” for a classic aperitivo in the smallest and cutest bar of the city. 
What are your top drinking spots in the city? 
When it comes to wine Florence has a lot to offer. The best places to enjoy a class of wine will be the Sesto, terrace bar of the Excelsior Hotel or the rooftop bar of Hotel Lucchesi, both with an amazing view and great wine lists. But my favourite place is Aurora, our new winery in Fiesole, with an amazing terrace overlooking the city of Florence, Chianti and the hills that frames the city. What is your favourite neighbourhood restaurant in the city?
 I love the traditional restaurant Cammillo, it is one of the oldest Trattoria of the city, still managed by the same family. It is chaotic but the atmosphere is warm and the menu rich of traditional dishes hard to find elsewhere. 
 What is your favourite dish they serve? 
Trippa alla Fiorentina, amazing! 
What are the culinary specialities of Florence and the surrounding area? 
Florence has a very rich cuisine, starting from aged salami, cheeses and charcuterie like finocchiona (made by the leftover of the pigs), but also pasta and soups like Ribollita (winter black cabbage and bread soup) Pappa al pomodoro (summer tomato and bread soup) or Tagliatelle that could be served with Cinghiale (wild boar) Lepre (hare) but the king of our cuisine is the Bistecca Fiorentina, a 2 kg steak served rare to medium-rare and made of Chianina beef. But don’t forget desserts like “Zuppa Inglese” or Cantucci and Vinsanto, the best way to end a heavy meal! 
If budget was not an issue where is the finest place to dine in Florence? 
Easy to answer: Enoteca Pinchiorri (three-Michelin), amazing food and probably the best wine list in the world. I’m very linked to this restaurant, it was my very first client in the world and for a few years Pinchiorri got all my production of Colore purchasing until the last drop of the wine! 
Florence has some world-class cultural sites. What is your favourite place to visit? 
My top three are: the Uffizi museum, you can’t leave Florence without a view of Venere and Primavera of Botticelli (and a good coffee on the rooftop bar of the museum), Santa Maria del Fiore (the duomo) with the adventurous walk to the top of the church and last but not least a visit to Fiesole village with its beautiful monastery. 
Is there an off the radar place in Florence that visitors should not miss? Florence can be very touristic and loud during high season but there are some places a bit off the radar like the “Giardino delle Rose” (the roses garden) beautiful in spring with hundreds of different roses or when open the Forte Belvedere with the Garden of Villa Bardini. 
 Florence is closely situated to the world-class wine regions of Tuscany – Where are the best places to visit for scenery and to discover the wine country? 
I will base myself on the hills overlooking the city, Fiesole can be the perfect base to visit the city and get out of the crowd when necessary. And from there move to Chianti Classico, Panzano in Chianti and Castellina are two lovely villages 30-40 mins away. If the plan is to visit Bolgheri or Montalcino better to base yourself on the coast or Siena. 
Where is the best place to enjoy your wines in Florence? 
I’m proud to say that our wines are considered the “local wines” in Florence, my winery is the closest winery to the city and I have been privileged for this reason, I’m the Florentine winemaker and my wines are very easy to find in most of the places in Florence. I get the occasion to toast to all our friends that I am sure I will be able to meet here again soon with a good glass of wine. Read more Editorial

We checked in with winemaker Bibi Graetz, whose winery set in the foothills of Florence, looks out over this magical city. Born and raised in the city and being the closest winery to Florence, we thought who best to ask for his top tips when visiting 

We caught up with Bibi Graetz, maverick Tuscan winemaker, about his top tips when visiting the region

Interview with Florence winemaker Bibi Graetz

Bibi Graetz: Postcard from Florence

Alsace – Olivier Humbrecht Food and wine are taken very seriously indeed in Alsace and Olivier has provided a wealth of options to consider. Worth noting, Alsace has more Michelin-starred restaurants than anywhere else in France. Top recommendations for wine lists at reasonable prices in the region are Tavernes lsacienne in Ingersheim and Restaurant de la Gare in Guewenheim. The best for food /wine list combo would be Villa Lalique in Wingen sur Moder, Chambard in Kayserberg. Table du Gourmet (1 Michelin Star) in Riquewihr and Auberge Bouc Bleu in Beblenheim. For a special occasion, don’t miss Aub de l’Ill (€€€) in Illhausern, which is a 2 Michelin Star restaurant. It was in fact a 3 Michelin Star restaurant up until recently but for Olivier it still is very much a 3 Star and worth the visit. 
Burgundy - Christophe Roumier "If you consider Burgundy to be larger than only the Cote de Beaune and Cote de Nuits, then my favourite restaurant is certainly Aux Terrasses in Tournus, which although only one Michelin Star, has a lovely creative cuisine full of energy and based mainly around local produce. The wine list is just perfect, although, like many places, it's full of young vintages. I like this place a lot! Closer to Beaune, one of my favourite restaurants is Hostellerie de Levernois for the high level of its cuisine and its very accomplished wine list. But here the place is a little more fancy." Brunello di Montalcino – Gianlorenzo Neri The most authentic place in Montalcino area is Trattoria Il Pozzo or Il Leccio in Sant'Angelo in Colle (a village in south area of Montalcino). Inside Montalcino village do not miss Il Giglio, Alle Logge di Piazza, and Drogheria Franci. For special fine dining you must try Osticcio. The best wine lists in town are at Il Giglio (you can find very old and rare vintages of Brunello from great wineries) as well as Drogheria Franci (same ownership of Enoteca La Fortezza who have an extensive wine list to choose from). Do not miss "Pinci" with meat sauce or pecorino cheese and pepper (in italian "cacio e pepe"), it is the typical pasta of the area, or "Peposo" which is a braised beef meat cooked in
a Brunello sauce. Santa Barbara – Matt Dees (Jonata & The Hilt) For dinner I would recommend the El Encanto restaurant which has beautiful sweeping views across Santa Barbara city. The food is awesome too. Don’t forget to stop off at the Mercado Ice Cream Parlour too. This place has got to be making some of the best ice cream in California. The Lark is pretty awesome. My personal favourite is Ca’Dario, a sort of no thrills Italian restaurant - the food is really authentic. We also have some of the best Mexican food being made in the US. These restaurants really are some of the jewels of the city. I love El Bagio
but there are loads of great ones to choose from! 
Chablis – Olivier Bailly – Domaine Billaud Simon Too few people make the one hour drive from the Cote d’Or to Chablis; the region is an overlooked culinary hot spot that offers exceptional value compared to the Cote d’Or. Olivier Bailly’s favourite restaurant in Chablis is Au Fil du Zinc for "the precision" of the Japanese Chef. According to Olivier, "he produces very good French cooking with a Japanese influence". Le Syracuse is another restaurant he recommends for the quality-to-price
ratio: "it is excellent!" 
Burgundy - Veronique Drouhin Veronique Drouhin also recommends the Bistrot du Bord de L'Eau in the commune of Livernois (just outside of Beaune). She describes it as “delicious, fairly priced and a lovely location both indoors and outdoors if the weather suits". Another recommendation is the L'Hermitage de Corton, just outside of Beaune, on the way to Aloxe Corton. Again it offers "delicious food at a good price in a beautiful setting... plus
the owners are delightful". If you find yourself in the centre of Beaune, Drouhin recommends Le Carmin, “a one Michelin star restaurant, worthy of the star”. For 'bar and tapas' style evening with friends, her pick is the gastro-bar Maison du Colombier. Another recommendation in Beaune is Le Bistrot des Cocottes: “nice, fun, very good”.

For any true epicurean, a list of top restaurants requires serious deliberation. We asked some of our favourite winemakers from around the world to give their recommendations, including Olivier Humbrecht, Christophe Roumier, Gianlorenzo Neri and more…

Winemakers Olivier Humbrecht, Christophe Roumier, Gianlorenzo Neri and more name their top restaurants

Where winemakers eat, part one

Where winemakers eat: Part one

The 2019 vintage in Montalcino has been hotly anticipated – following on from two trickier years, 2017 and 2018 (although we found the latter to offer some very elegant wines), it’s a year that seemed set to receive critical acclaim to match the lauded 2016.  A wet winter replenished water reserves, with a damp spring and warm, dry summer. There were no serious extremes in the conditions, with rain showers arriving in September allowing for a harvest of juicy berries, with little disease pressure, from the middle of the month, finishing in early October. It delivered both quality and quantity, and from what we’ve tasted the wines are extremely impressive – combining power and elegance, offering approachable yet clearly age-worthy styles with effortless balance.  Vinous – Antonio Galloni  For Antonio Galloni, one of the defining features of the 2019 vintage is its consistency: “The entire region excelled, from southwest to east and northeast to west. Frankly stated, finding a 2019 that doesn’t show remarkable balance, vivid fruit and freshness is a difficult task,” he writes.   The stress-free growing season produced wines of “utter harmony”, “a blending of power and elegance in a way seldom seen”. He explains that many producers describe the wines as “crunchy”, something he feels is apt, and compares the wines to the 2016s, but with more energy and the aforementioned crunchy tannins. “This is a vintage of radiance and appeal,” he says of 2019, a vintage with wines that are aromatically expressive, offer sense of place and typicity – often earning descriptors such as “classic, racy, cool-toned, crunchy and sleek”, as well as being built for the cellar (maturing over the next 10-15 years or more). It is, he writes, “the vintage we’ve all been waiting for”.  He emphasises that it isn’t just the 2019s that are so enticing, but that the “high-energy and fruit-forward” 2021 Rossos that make for “an embarrassment of riches” with the current releases. The 2021 Rossos offer “charming, wildly aromatic, drink-me-now personalities” – and are, he says “an excellent choice for collectors”, he suggests, providing “open drinking windows and gobs of pleasure” while the 2019s mature in the cellar.  Antonio Galloni’s top 2019s: Canalicchio di Sopra Vigna La Casaccia, Il Marroneto Madonna delle Grazie, Le Potazzine, Pian dell’Orino Bassolino di Sopra, Valdicava Vigna Montosoli, Mastrojanni Vigna Schiena d’Asino, Canalicchio di Sopra Vigna Montosoli, Baricci, Le Ragnaie Casanovina Montosoli, Argiano Vigna del Suolo, Altesino Vigna Montosoli  Explore Antonio Galloni’s full report, notes and scores on Vinous (subscribers only)   Wine Advocate – Monica Larner  “Now is the time to take a closer look at this storied Tuscan appellation,” advises Monica Larner – who is clearly excited by the quality of the 2019 vintage in Montalcino.   For Larner, 2019 offers “good balance between acidity, concentration and tannins” – with the latter more elegant than those of the 2018s. The wines are concentrated and weighty, yet balanced and elegant, and therefore remind her of 2007 or 2015. As other critics note, the wines are likely to be approachable in youth yet have the acidity and structure to age. The season was “uniformly easy” in both the vineyard and winery, and she highlights the large number of wines scoring between 97 and 99 points.  While both Kerin O’Keefe and Antonio Galloni feel 2019 has the edge on 2016, Larner believes that “2016 remains superior in my view in terms of elegance and longevity”, although 2019 “ranks close”. For her, one of the reasons the vintage feels so significant is that it marks the beginning of what she perceives as a “new wave” for Montalcino, with a group of producers pushing quality forward, inspired by Burgundy and Barolo to make wines with “vibrant flavors, light and energy”.  Monica Larner’s top 2019s: Le Ragnaie V. V., Il Marroneto Madonna delle Grazie, Poggio di Sotto, Giodo, Salicutti Teatro, La Ragnaie Passo del Lume Spento, Canalicchio di Sopra Vigna Montosoli, Castello Romitorio Filo di Seta, Casanova di Neri Giovanni Neri, Ciacci Piccolomini d’Aragona Pianrosso, Pieve Santa Restituta Sugarille  Explore Monica Larner’s full report, notes and scores on the Wine Advocate (subscribers only)  Kerin O’Keefe  You may not be familiar with the name Kerin O’Keefe, but she is one of the leading Italian wine critics. She was the Italian Editor for Wine Enthusiast for almost a decade, before she set up her own platform, however she is perhaps best known for her most recent book, Barolo and Barbaresco: The King and Queen of Italian Wine, and also wrote a book on Brunello di Montalcino in 2012.  For O’Keefe, the 2019 vintage is clearly an excellent year for Montalcino. “I’ve never tasted so many drop-dead-gorgeous young Brunellos from a single vintage,” she writes. It “has definitely lived up to its lofty reputation” and “the 2019s are overall even better than the 2016s”, she says. The wines combine “intensity, exuberance and great fruit as well as balance”, with many estates making their best wines ever. The growing season was “ideal”, and most 2019s offer “vital energy and refined tannins that allow the wines to showcase their [terroir]”.  Of course, while “it’s hard to find any defects with the 2019s”, there are of course some “more densely concentrated wines with generous alcohol levels”. Most, however, are “incredibly fragrant”, “full-bodied”, with “great energy” and “taut but refined tannins”, with the best combining body and finesse. She anticipates the wines ageing beautifully over the next 20 or so years.  Kerin O’Keefe’s top 2019s: Conti Constanti, L’Aietta, Le Chiuse, Ciacci Piccolomini d’Aragona Pianrosso, Gianni Brunelli, Canalicchio di Sopra, Gorelli, La Gerla, Lisini, Mastrojanni Vigna Loreto, Podere Le Ripi Cielo d’Ulisse, Salicutti Sorgente, Talenti Piero, Ciacci Piccolomini d’Aragona  Explore Kerin O’Keefe’s full report, notes and scores on her site (subscribers only)  jancisrobinson.com – Walter Speller  The comparison between 2016 and 2019 continues in Walter Speller’s report and he highlights how divided producers are on which is better. All agree, however, that 2019 provided a growing season without extremes – something “which has become the definition of a great year”.  He draws comparisons between 2004 (which offered quantity and quality), as well as 2015. “I’m not entirely convinced 2019 has the same pedigree as 2016,” Speller writes. While there are some outstanding wines, he feels there are wines with stubborn tannins – and he doesn’t find it as consistent as other critics, but rather confirms that the best producers make fantastic wines year in, year out. He emphasises, as well, that quality is determined by producer rather than location in the region.   Walter Speller’s top 2019s: Il Marroneto Madonna delle Grazie, Canalicchio di Sopra Montosoli, Conti Constanti, Le Chiuse, Canalicchio di Sopra, Pieve Santa Restituta Sugarille, Le Ragnaie Casanovina Montosoli, Capanna, San Polino Helichrysum, Le Ragnaie V. V., Sesti, Fuligni  Explore Walter Speller’s full report, notes and scores on jancisrobinson.com (subscribers only)   James Suckling  James Suckling remarks that, as a growing season, 2019 was “a throwback to the late 1990s”, echoing other critics in saying that producers found it an easy year with no major challenges in the vineyard and winery. “I loved them,” he writes of the wines, enjoying a “crunchy and pure fruit character” in many. His two 100-point wines (Casanova di Neri Giovanni Neri and Valdicava Vigna Montosoli) have “incredible clarity of fruit and fine tannins as well as a transparency that takes them to their unique soils and locations on the hillsides surrounding Montalcino”.  Suckling also highlights how there is decreasing emphasis on new barriques, with old oak and larger casks increasingly favoured by producers in the region, as well as a growing number of single-site wines.  While he notes that producers compare the year to 2010, 2015 and 2016 (or some combination of those years), for him they are closest to 2004, 1997 or 1998 – having a “neoclassical character” thanks to their “agility and harmony”, and recommends giving them three to five years in bottle “to come into their own”. Whichever year you compare it to, however, Suckling is clear that “2019 is definitely a vintage to buy”.  James Suckling’s top 2019s: Casanova di Neri Giovanni Neri, Valdicava Vigna Montosoli, Giodo, Siro Pacenti Vecchie Vigne, Argiano Vigna del Suolo, Cerbaia, Fuligni, Tenuta Luce  Explore James Suckling’s full report, notes and scores on his site (subscribers only)  Jeb Dunnuck – Audrey Frick The latest report to be released on Montalcino is courtesy of Audrey Frick, Jeb Dunnuck’s Italian correspondent. She reports that 2019 wines are “exceptional and offer consistent greatness across the region”. She compares the wines to those of 2015 for their depth and concentration, 2016 for the vibrancy and tension, and 2010, saying that they offer “outstanding freshness, incredible balance of richness, and a great deal of complexity”. No matter your tastes, there is, she says “something for everyone regardless of style”. The easy growing season, with no major heat spikes or challenges, has resulted in a vintage that is defined by its “completeness” and advises “collectors are going to want to snatch up top bottles from across the region”. She highlights Poggio di Sotto and Il Marroneto Madonna delle Grazie in particular, identifying them as two, contrasting wines that “highlight the incredible potential of this vintage”. Audrey Frick’s top 2019s: Il Marroneto Madonna delle Grazie, Canalicchio di Sopra Vigna La Casaccia, Casanova di Neri Giovanni Neri, Gianni Brunelli, Giodo, Le Chiuse, Le Ragnaie V. V., Pieve Santa Restituta Rennina, Poggio di Sotto, Val di Suga Poggio al Granchio Explore Audrey Frick's full report, notes and scores on the Jeb Dunnuck site (subscribers only) Browse all current listings of 2019 Brunello di Montalcino or read more Editorial 

Following on the heels of 2017 and 2018, the 2019 vintage seems like a blessing for Montalcino – a year to rival 2016. As the Brunello di Montalcinos from the year are released, we provide a round-up of what the top critics are saying about the vintage – as well as their top-scoring wines

The leading critics’ views on 2019 Brunello di Montalcino as well as their top-scoring wines: Antonio Galloni, Monica Larner, Kerin O’Keefe and Walter Speller

Brunello di Montalcino 2019 – critics’ round-up 

Brunello di Montalcino 2019: what the critics are saying

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