Every now and then, the word ‘singularity’ is used to describe a particular wine that stands apart, for whatever reason, from other wines of its type. But just what is singularity, and how can wine express it? Wine writer Tamlyn Currin investigates.

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Xiao-Li Meng, Whipple V. N. Jones Professor of Statistics at Harvard and Founding Editor-in-Chief of Harvard Data Science Review, was inspired by a student to combine wine and statistics—leading to insights far beyond what they ever expected.

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About Académie du Vin Founded in Paris in 1973 by Steven Spurrier, the Académie du Vin grew out of a love of wine and a desire to share it with clarity and intelligence. What began as informal wine appreciation courses in 1970s Paris evolved into a publishing house dedicated to the finest wine writing of the past, present, and future. Today, the Académie du Vin Library maintains a deliberately small and carefully curated list, selecting books for their readability, authority and enduring insight into the world’s great wine regions – guided by the belief that fine wine writing, like wine itself, deepens with time. About this article This article presents the introduction to Côte d’Or: The wines and winemakers of the heart of Burgundy (2nd Edition) by Raymond Blake. In it, Blake sets the scene for Burgundy’s most revered stretch of vineyard, exploring the historical, cultural and human forces that shape the Côte d’Or. The introduction offers essential context on place, tradition and the vignerons themselves—laying the groundwork for a deeper understanding of Burgundy’s wines and the people behind them. Introduction The Côte d’Or, the Golden Slope, enjoys a reputation and exerts an influence in the wine world out of all proportion to its size. It possesses none of the grandeur of the Douro Valley, for instance, nor the picture-postcard beauty of South Africa’s winelands. It is not majestic; its beauty is serene, and what strikes the observer time and again is the tiny scale. From north to south it is about 50 kilometres long, is sometimes less than a kilometre wide, and can be driven in little more than an hour. At a push it could be walked in a day. Yet for a thousand or more years this favoured slope has yielded wines that have entranced and delighted wine lovers, with a fair measure of frustration and disappointment thrown in too. Avoiding hyperbole when writing about the Côte d’Or is a problem, for it has held people in thrall for centuries, frequently prompting poetic flights of prose: ‘The Pathetic Fallacy resounds in all our praise of wine … This Burgundy seemed to me, then, serene and triumphant … it whispered faintly, but in the same lapidary phrase, the same words of hope.’ Thus wrote Evelyn Waugh in Brideshead Revisited eighty years ago. Literary critics might cavil at such prolixity, and Waugh himself tamed it severely in later editions, but it was enough to intrigue me decades ago and engender a love for the region and its wines that has never waned. Greater Burgundy is a bigger, more geographically diverse, region than might first be supposed, stretching from Chablis, south-east of Paris, to Beaujolais, north of Lyon. The subject matter of this book, however, is Burgundy’s heart, the Côte d’Or. There is no more celebrated stretch of agricultural land on earth. It has been pored over and analysed, feted and cosseted, obsessed about and sought after for centuries and today, if anything, it exerts a greater pull on wine lovers than ever before. ‘Astronomical’ does not begin to describe the prices now being paid for prized patches of grand and premier cru vineyard, and for the wines produced from them by the top domaines. Such prices hog the headlines and paint a dazzling, though severely one-dimensional, picture of the Côte d’Or today. In the early years of the twenty-first century they are part of the story but they are not the only part. This book aims to get behind the dazzle and flesh out the story, to add some nuance and extra dimension. The Côte d’Or cannot be captured in a sound bite nor, it must be admitted, in a book of this scope – but my hope is that it may add another chapter to the ever-unfolding tale, setting it in the early years of the twenty-first century, a period that may come to be considered by future historians as a golden age for Burgundy but which has brought its own challenges in the shape of those ludicrous prices, the scandal of premature oxidation in the white wines, and the increasing challenge of dealing with extreme weather events such as hail and spring frost. The Côte d’Or has been the subject of forensic scrutiny for centuries, generating a library of books, so why another one now? For the simple reason that it is ever changing. Every year sees new names added to the producers’ roster and old ones slipping away, and thanks to this ongoing evolution the infant domaine of today can be the superstar of tomorrow. The core of the book comprises about a hundred producer profiles. Many fine domaines and négociants whose wines I am happy to purchase and drink have not found a place here. It is important to stress that they have not been included, rather than excluded, simply for reasons of space. The aim was to feature a representative collection of producers, not a top-down selection of the most celebrated names in descending order of renown. As a consequence this book is not, nor was it ever intended to be, a comprehensive A to Z of producers. I write as an amateur du vin, an enthusiast whose admiration for the wines of Burgundy stretches back over four decades, and who has been visiting the region and writing about the wines for some thirty years. I do not trade in wine. I try to see beyond the wine to get something of the backstory, the story of people and place that makes the Côte d’Or so fascinating. To examine the wines in isolation is to dislocate them from that, and not knowing something of the backstory precludes a full understanding of them. A broad lens must be brought to bear on the côte. Too narrow, and the wood will never be seen for the trees. I have learned much by coming across things serendipitously rather than dashing hither and thither, seeing a lot but noticing little. Without time for assimilation and reflection, subtlety and shade are missed. Finally, no gustatory experience can match the thrill of a great Côte d’Or red drunk at its peak. The colour, crimsoned by age; the heavenly scent, perfumed with notes of sweet decay; a sauvage edge, the palate lively and tingling, managing to be so many things at once, oscillating between fruit and spice and meat and game, a merry-go-round of flavour, spiralling on the palate, refusing to be pinned down by anything so prosaic as a tasting note. All the primary components melded by age and yielding up new ones, unsignalled when the wine was young. Everything cohesive and in harmony, like a great orchestra playing at its best. Above all, vital and living, endlessly enchanting and intriguing, engaging the palate and the spirit like no other wine. Learn more about Raymond Blake's Côte d'Or (2nd edition) Shop all books from the Académie du Vin Library Visit the Académie du Vin website Upcoming Event FINE+RARE & Académie du Vin Present: The Impossible Tasting FINE+RARE and Académie du Vin are delighted to present a rare and intimate exploration of the finest wines ever made. Wines of historical legend. Wines that are rarely seen, much less opened. Wines that should be impossible to bring together at one time. Lunch (April 29): River Restaurant, The Savoy Hotel Dinner (April 30): St James’s Room, 67 Pall Mall Club Learn more about the event here

Explore Burgundy with the introduction from Raymond Blake's book: Côte d'Or: The wines and winemakers of the heart of Burgundy. Blake tells the whole story of this hugely influential region, painting a complete picture of life there: the history, landscape, climate, culture and people.

Discover Raymond Blake's Côte d'Or (2nd Edition): a deep dive into Burgundy's wines, winemakers, history, culture and the people behind this iconic region.

Raymond Blake on the Côte d'Or

“Time is necessary,” Paul-Etienne Defaix tells me. He should know – he is the 16th generation of his family to make wine in Chablis – and, at Domaine Daniel-Etienne Defaix, time is everything.  Wine has been made at the Domaine du Vieux Château (the property’s historic name, which still features on the labels today) for eight centuries, and under the Defaix family since 1610. Much has changed in Chablis over the past 400 years, however – and today the estate is a last bastion of the Chablis of yore.   Demand for Chablis was booming by the 1970s, and producers reduced the élevage (the time wine spends in barrel or tank), bottling, releasing and selling the wines earlier. These modern wines, often bottled within six to 12 months, were lean and crisp, but for Paul’s father Daniel-Etienne, they were disappointing – lacking the complexity and ageability of wines that spent longer on their lees (the dead yeast cells). Daniel-Etienne decided to do things differently – to return to making wine the way they had in generations past – and the family hasn’t looked back.  Generally, their approach is to let the wine be – waiting, watching and waiting some more. Fermentation is all with indigenous yeast and notably slow, taking up to six months, with malolactic fermentation left to rumble along on its own timescale, only finishing after up to two years. Their Premier Cru wines then spend up to nine years on their fine lees, while for the Grands Crus it can be up to 15 years, kept at a cool 10-12°C.  During the wines’ extended élevage, autolysis takes place – the enzymatic breakdown of the dead yeast cells, or lees. It’s the same process that takes place in Champagne and other traditional-method sparkling wines aged on their lees, and is the key to the Defaix – and once traditional – style of Chablis, giving the wine a rounder mouth-feel, and lending bready, toasty complexity. It is also, for Paul, “key to revealing terroir”. Although the tiny volumes of Defaix’s Grands Crus and Pinot Noir go into oak, most of the wines are aged exclusively in stainless steel, meaning it is only the site and time that you taste in the bottle. Once deemed ready, the wines are bottled and released into the world.  Ageing its wines in stainless steel tank for not months but years, Defaix creates textural, complex wines that are only released as they reach their drinking window. It is a rebellion, Paul tells me, against “a society of rapid consumption”.  Paul is now in charge of the property’s vineyards and winemaking, although his father is still involved in the business. Paul studied in Beaune, getting experience at a handful of estates – largely focused on Pinot Noir – before returning to the family domaine, working his way from the vines to the cellar. As Daniel-Etienne told him, “You need to learn your soil, your vines, then you can make the wine – and then you try to sell it.”  And, although it’s often the style of winemaking that steals headlines at Defaix, the domaine has some remarkable vineyards. The family farms 28 hectares in total. It has two Grand Cru parcels (0.15 hectares in Blanchot and 0.3 hectares in Grenouilles), but it’s the property’s Premiers Crus that have built its reputation – with four hectares each in Côte de Léchet and Vaillons. From these, they produce three wines: their Côte de Léchet, Les Lys and Vaillon. Importantly, the latter is Vaillon, not plural Les Vaillons – their parcel lying in the historic heart of this Premier Cru, prior to its expansion in 1976. Les Lys is a cooler climat within the larger Vaillons, and is often our favourite of the range, while the Côte de Léchet is drastically steep – with a 45% gradient.  The remaining hectares are largely dedicated to the estate’s village Chablis – their Vieilles Vignes. These vines are all over 45 years old, but some are very old – own-rooted, having survived phylloxera and now 145 years in age. When I ask Paul how this half-hectare has managed to survive ungrafted, he pauses, before saying: “I think God prays for these vines.”. They crop a mere 15hl/ha, but produce beautiful fruit (“For my bank, it’s bad; for my wine, it’s perfect!” Paul jokes) – and are now used for massal selection across the estate.  The final piece of the property is a tiny section of Vaillons planted to Pinot Noir, which is bottled as Bourgogne Rouge (as the land is only classified for Chardonnay production). Comprising less than a hectare, these vines too are ancient, planted in 1900, and still on their own roots.  Their spacious cellars are stocked with back-vintages, carefully maturing – a bank of wine that eases the vagaries of each specific growing season, protecting them from dramatic drops in yield – something that is a constant threat in Chablis. Take 2024, a year that was challenging across much of northern Europe with its wet conditions and high disease pressure, but in Chablis also brought hail that devastated huge swathes of vineyard – including Vaillons.  Global warming might have made it easier to ripen grapes in this marginal region, but it’s also made for more extreme conditions – highs and lows that keep producers on their toes. It’s also, arguably, made Chablis a little less Chablis. With riper fruit, the wines are less steely, taut and lean. Harvest dates are inevitably earlier, Paul notes, to preserve acidity and retain Chablisien backbone, but he also emphasises that the fruit requires not just sugar ripeness, but phenolic ripeness – to give dry extract and allow the wines to age. For him, working with old vines and low yields is key – both to phenolic ripeness and to preserving Chablis’s style.  The 2014 vintage – the first that Paul made – has finally just emerged from the cellar, over a decade after it was produced. It’s been a long wait, but delayed gratification is part of life at Domaine Daniel-Etienne Defaix.   Explore all current listings of Domaine Daniel-Etienne Defaix – including the 2014 Vaillon – or read more about Burgundy. 

In many ways, time stands still at Chablis’s Domaine Daniel-Etienne Defaix. As the latest vintage is released, we caught up with Paul-Etienne Defaix – the 16th generation to take the helm at one of the region’s oldest addresses 

Exploring this traditional Chablis estate and its top Premier and Grand Cru wines with 16th generation winemaker Paul-Etienne Defaix

Worth the wait, Domaine Daniel-Etienne Defaix’s Chablis wine

Worth the wait: the wines of Domaine Daniel-Etienne Defaix   

The Reynaud wines are the stuff of legend. Utter “Rayas” to a certain crowd and they will swoon. The singular style of this iconic Châteauneuf-du-Pape estate – pale, hauntingly aromatic, almost Burgundian in texture and incredibly long-lived – has a fervent following, a clan of Reynaud obsessives keen to seek out everything that Emmanuel Reynaud touched.  The property’s rustic charm – a far cry from the grandiose buildings of many famous estates – combined with the family’s inclination to shy away from their fame, happier quietly farming their vines, has only fanned the flames. Tucked away in the northern reaches of Châteauneuf-du-Pape, Ch. Rayas and its owners are elusive – only making them more sought-after.   There is no shortage of praise for these rare and special wines – whose appeal, given the Reynaud’s minimal-intervention approach, broaches the worlds of fine and natural wine. William Kelley is a loyalist, and is one of several to note how well the property performs in “off-vintages” – where the property’s distinctive profile shines through, above and beyond the vintage and region, revealing their “captivating perfume, sensual textures and eternal youthfulness”. Robert Parker described the 1990 Rayas as “one of the greatest young red wines I have ever tasted”. For Nicolas Grainacher (Vinous), “The substance, finesse and intensity packed into these wines make it hard not to fall in love with them.” Neal Martin (Vinous) perhaps put it most concisely: “God invented wine to drink wines like this.”    The history of the Reynaud empire  In 1880, Albert Reynaud, a notary from Avignon, lost his hearing aged just 45. No longer able to work as a lawyer, he bought an estate in Châteauneuf-du-Pape, in an area called Rayas, where he saw out his days farming vines, apricots and olives. In 1910, his son Louis Reynaud took over running the estate. Louis had studied agriculture in Angers and was particularly interested in viticulture. He uprooted trees to plant new vineyards and bottled the property’s first wine in 1920 – using the name “Rayas”, the name of the forest on their parcel of land. It was the beginning of Rayas as we know it today.  Louis famously added the wording “Premier Grand Cru” to the Rayas labels, a self-pronounced classification of the wine – and notoriously defying the appellation rules (introduced in 1936). Building the property’s reputation and sales, he started expanding the business. Between 1935 and 1938 he bought Ch. des Tours in Vacqueyras, entrusting his son Bertrand with the larger 58-hectare property northeast of Châteauneuf-du-Pape, not far from the town of Orange. Around the same time, he built a new cellar and winery at Rayas, bringing the buildings within the appellation’s boundaries. After the Second World War in 1945, Louis purchased Ch. de Fonsalette, an estate further north of Orange, in Lagarde-Paréol – and, with that, the full suite of Reynaud properties was in place.  By the time Louis passed away in 1978, the Reynaud wines were some of the Rhône’s most famous.  
After his death, his youngest son Jacques took over Rayas and Fonsalette, while Bertrand continued to run Ch. des Tours. With the shift in ownership at Rayas and Fonsalette, quality dipped a little – but soon Jacques was making wines that lived up to the Reynaud name.  The old vines at Rayas, planted on sandy soils, facing north/northeast, surrounded by pine forest, produce wines of exceptional elegance and aromatic finesse, wines with haunting perfume, pale colour and almost Pinot-like delicacy, yet phenomenal persistence and ageability.   Jacques was renowned for being eccentric. A recluse, happiest in the vines and never keen to welcome visitors, he was rumoured to, on occasion, lie in a ditch to avoid journalists or other members of the trade. His aversion to the limelight surely only added to the wines’ allure. He died rather suddenly in 1997, while shoe shopping in Courthézon. Having no children of his own, his nephew Emmanuel – Bertrand’s son, who had been running Ch. des Tours since 1989 – inherited both Rayas and Fonsalette, taking the reins across all three properties.  The transition between Jacques and Emmanuel wasn’t seamless, as Emmanuel renovated the estate and replanted parts of the site, but by the early 2000s quality was once more living up to the Reynaud name. The style has shifted between generations, and while Jacques’s wines were more structured and solid, Emmanuel favoured more sensual, perfumed expressions. Over the last two decades, little has changed across the Reynaud properties – the wines’ mythical status only confirmed with each release. The new generation – Emmanuel’s sons Louis Damien and Benoît – are now continuing the family’s legacy.    The Reynaud philosophy  The approach at Reynaud is old-school – here, tradition reigns. Modern monoculture is not the method – with various crops across the estates, and biodiversity nurtured with swathes of woodland. The vines – all bush vined, many with significant age – are farmed in exactly the way as they’ve always been, organically with minimal inputs, ploughed by horse.  The fruit is all hand-harvested, whole-bunch fermented with indigenous yeast in cement tanks. Since Emmanuel took over, parcels have all been vinified separately. Macerations are gentle, generally under two weeks with a single pump-over a day. Ageing is in large, old oak, with no new wood used anywhere across the properties – indeed the youngest demi-muid or foudre at the estate may well be 30 years in age. Sulphur additions are minimal, with only a small amount at fermentation and a final addition at bottling, with the wines bottled unfined and unfiltered. The method is simplicity at its finest, focused on expressing each site – and the results speak for themselves. The wineries are rustic farm buildings, offering only the basic requirements, with no modern technology employed – and, given the wines produced, not needed.  Grenache is the core of all the Reynaud wines – the grape that thrives in their terroir and is the magic behind Rayas. Beyond Rayas, Cinsault is used to bring elegance and suppleness, while Syrah was long avoided – used only at Ch. de Fonsalette. Louis Reynaud believed the variety belonged in the Northern Rhône, and other than the small portion that made it into the Côtes du Rhône, the rest of the Syrah was sold off in bulk under his reign (often to local restaurants, who used it in their sauces). The Côtes du Rhône Syrah cuvée only introduced under Jacques Reynaud’s tenure, at first sold to the restaurants who had seen its quality in their sauces. There is no Mourvèdre at any of the estates, as Emmanuel Reynaud believed that their soils are too dry for the grape.  The Reynaud wines and estates  The Reynaud family comprises three distinct estates – Rayas, Fonsalette and Ch. des Tours, although Fonsalette doesn’t have its own winery.   Ch. Rayas  Rayas is the original Reynaud estate, purchased in 1880, and takes its name from the climat. In the northern reaches of Châteauneuf-du-Pape lie the 12 hectares of vines, surrounded by 11 hectares of forest. Forget the region’s stereotypical galets roulés or pudding stones, known for their ability to hold heat, Rayas sits on red, iron-rich, sandy soils, over richer clay. The soils are poor and the bush vines planted at low density, with a mere 2,500 vines per hectare – yielding just 10 to 20hl/ha. Significant replanting took place in the 1980s, meaning the vines now average 40 years in age, although there are still some survivors from the 1940s.  The site’s northern exposition combines with the influence of the wooded areas, offering shade and humidity, making for an extended growing season and preserving freshness in the wines. The Reynauds are among the last to harvest, often only picking in October/November, as much as two months after their neighbours. The resulting wines, however, do not speak of intense ripeness – but are all about elegance and finesse.  While Châteauneuf permits 13 red varieties, at Rayas you’ll find only Grenache Noir, with two hectares dedicated to white grapes – Grenache Blanc and Clairette. The Grenache vineyards can be divided into three section: Le Levant, Le Coeur and Le Couchant, each taking its name from its exposure to the sun – respectively as it rises, at its peak and as it sets. Writing for The World of Fine Wine, William Kelley describes the three components of the vineyard thus: “Le Levant is the most floral and ethereal, contributing the wine’s spine; Le Coeur is the most complete, contributing Rayas’s skeleton; and Le Couchant, with its richer, more compote-like fruit tones, brings the fat.”  The fruit is all hand-picked. The Grenache is kept on its stems, the whole bunches crushed before a gentle maceration for maximum two weeks (one pumpover a day) and indigenous-yeast fermentation. The wine is pressed off and aged in old foudre for a little under two years.  The delicacy and finesse of the resulting wine is reminiscent of top Burgundy. Pale in colour, Rayas is deeply aromatic, with haunting floral notes and an ethereal, silken texture that balances the wine’s earthy, savoury intensity. Between 1,200 and 1,500 cases of the flagship Châteauneuf-du-Pape are produced each year. The wines age beautifully and Emmanuel himself recommended waiting 20-25 years before opening a bottle of Rayas to fully experience its evolution.  The white grapes are planted across three parcels in Le Levant, comprising two hectares. The Grenache Blanc was planted in the 1940s, ’50s and ’95, with the Clairette planted in 1986. Fermented in old (80 to 100 years old) foudre, purchased second-hand by Louis Reynaud (Emmanuel’s grandfather), Rayas Blanc is a 50:50 blend of Grenache Blanc and Clairette, aged in old oak for around 11 months. The wine is made in extremely limited volumes, with only 400 or so cases produced each vintage. Rich yet poised, this rare white is immensely fragrant with notes of almond and white flowers, intensely mineral and textured, and can age for at least a decade.  Pignan is sometimes considered a “second wine” at Rayas, but it in fact comes from it own, specific site on the estate, a single two-hectare block surrounded by pine trees on the northern edge of the property with less sandy soils. Also pure Grenache, made in exactly the same way at Rayas, it offers a more immediate and approachable expression of the Rayas style, yet similar perfume, purity and structure – and is still capable of extended ageing. It can, on occasion – and especially in cooler vintages, rival its older sibling, Rayas. Around 650 cases are produced each year.  The Rayas wines are all only released when entering their drinking window, with the reds often only emerging from the estate over a decade after the harvest.  Ch. de Fonsalette  The “latest” addition to the Reynaud galaxy, Ch. de Fonsalette was purchased by Louis Reynaud in 1945. The property is large, covering 120 hectares in total, but with 12 hectares of vines in amongst woodland, farmland and olive groves, north of Orange in Lagarde-Paréol. Today it sits largely within the Côtes du Rhône Villages Massif d’Uchaux appellation (established in 2005), however the wines are all labelled just as Côtes du Rhône. Further north, the microclimate is cooler than at Rayas, and stylistically the wines are more restrained than those of Ch. des Tours, for example, but not as ethereal as those of Rayas.  The soils here are very different to those at Rayas with gravel, sand and red pudding stones. The vineyards are planted to Grenache, Cinsault and Syrah for red grapes, and Grenache Blanc, Clairette and Marsanne for whites. The vines are generally old, with the oldest planted in 1929.  The philosophy in the vineyard and winery is exactly the same as at Rayas – and, as the property doesn’t have a winery of its own, the wines are even made at Rayas. The reds are whole-bunch fermented, with a maximum two-week maceration and one pump-over a day. The wines are aged in a combination of enamel-lined tanks and large, old oak, bottled around a year or so later.   There are three wines in the range at Ch. de Fonsalette. The Côtes du Rhône Rouge is a blend of 50% Grenache, 35% Cinsault and 15% Syrah, the notably high percentage of Cinsault giving the wine particular lift and aromatic finesse – a wine that whispers and draws you in. There is a second red, a Côtes du Rhône Syrah which is 100% Syrah – a structured, dark-fruited wine that offers restrained power and quiet depth. Under Louis Reynaud, this was sold off in bulk, only first bottled under Jacques Reynaud (from 1978) and sold locally, largely to restaurants, before being offered more widely under Emmanuel. The Côtes du Rhône Blanc is a blend of 80% Grenache Blanc, 10% Clairette and 10% Marsanne, producing a textural and complex white with notes of stone fruit and herbs, and a saline undertow.  La Pialade  This wine is a slight anomaly in the Reynaud line-up. Only made in certain vintages, La Pialade Côtes du Rhône is vinified and aged at Rayas, made with declassified parcels from either Rayas or Ch. de Fonsalette. The blend is typically 85% Grenache, 15% Cinsault and 5% Syrah. Produced in tiny volumes, and even rarer given it isn’t made every year, it is often described as an “everyday Rayas” – more open in style, but can match Rayas for its subtlety and delicacy, even if it does not have the same depth.  Ch. des Tours   Purchased by Louis Reynaud in the late 1930s, Ch. des Tours was Emmanuel Reynaud’s home estate – having taken over running the property from his father Bertrand in 1989. As it was entrusted to Bertrand from the beginning, and never managed by Jacques Reynaud, the estate has always stood apart from Ch. Rayas and Ch. de Fonsalette – however all three have fallen under Emmanuel since 1997. Benoît – Emmanuel’s son, who studied oenology in Switzerland – has recently taken the lead at Ch. des Tours, having worked closely alongside his father.  The property gets its name from the towers or tours that frame the château building. Located in Vacqueyras, not far from Orange and northeast of Châteauneuf, it covers 40 hectares, with grains and olives as well as grapes. As it was long run separately, the property has its own winery.  Although the Reynaud philosophy runs through all three estates, the wines at Ch. des Tours are stylistically distinctive, offering more structure, muscle and intensity versus the more subtle, high-toned, perfumed style of Rayas and Fonsalette. The winemaking is largely similar to at Rayas and Fonsalette, with fermentation is concrete and maturation in old oak. Although the red grapes are mostly whole-bunch fermented, this is the only property where small portions are destemmed. The range is more complex at Ch. des Tours with a selection of wines bottled under Ch. des Tours, some under Domaine des Tours and a rosé made under the Parisy label.  There are five wines under the Ch. des Tours label:  Vacqueyras: A blend of 80% Grenache and 20% Syrah, this is a structured and powerful wine made exclusively from the oldest vines on the estate.  Côtes du Rhône Rouge: A blend of 65% Grenache, 20% Syrah and 15% Cinsault, this is a supple, juicy red packed with fruit and spice.   Côtes du Rhône Rouge Grande Réserve: Only made in specific vintages, this is effectively the Vacqueyras declassified when there isn’t sufficient colour – made in 2002, 2014 and 2015.  Côtes du Rhône Blanc: Made in very limited volumes, this white is 100% Grenache Blanc – a floral, textural wine that is worth seeking out.  Côtes du Rhône Blanc Grande Réserve: Only made in certain vintages, this is not a declassified bottling (like its red sibling), but a special bottling of the property’s best Clairette and Grenache Blanc. The 50% Grenache Blanc, 50% Clairette wine was produced in 2003, 2014 and 2015.  The Domaine des Tours label is all sourced from Ch. des Tours however is a slightly separate project, generally offering more accessible wines, almost all labelled as IGP or Vin de Pays. There are four wines under the label:  Vin de Pays de Vaucluse Rouge: This is a deeply expressive field blend of Grenache, Counoise, Syrah, Cinsault, Merlot and a host of other varieties.  Vin de Pays de Vaucluse Merlot: This 100% Merlot comes from the richest, clay soils on the property, producing amore opulent and exuberant wine.  Vin de Pays de Vaucluse Merlot-Syrah: A blend of Merlot and Syrah, which shifts according to the vintage, is a concentrated wine that combines the generosity of Merlot with the spice of Syrah.  Vin de Pays de Vaucluse Clairette: This 100% Clairette is pure and fresh, driven by minerality.  Under its own label is Les Tours Grenache Blanc – a rich, ripe and generous 100% Grenache Blanc full of stone fruit, bottled under the Vaucluse appellation. The last wine from Ch. des Tours is the Parisy rosé, a dry, delicate Grenache/Cinsault Vin de Table designed for everyday drinking. The labels themselves don’t detail the vintage, with this information only visible on the cardboard case.  Which Reynaud wines are made where? Ch. Rayas, Pignan, Ch. de Fonsalette and Pialade are all made at Rayas Ch. des Tours, Domaine des Tours, Les Tours Grenache Blanc and Parisy are all made at Ch. des Tours  Explore all current listings of the Reynaud wines or read more Editorial 

Few wines have the cult status of Rayas – a wine that stands alone in Châteauneuf-du-Pape. Here, we offer an essential guide to the wines crafted by the Reynaud family in the Rhône – Rayas, of course, but also those of Ch. de Fonsalette and Ch. des Tours 

Everything you need to know about the wines made by Emmanuel Reynaud – Rayas, Pignan, Chateau de Fonsalette, Chateau and Domaine des Tours, and Parisy  

Guide to Rayas, Fonsalette and Des Tours – the Reynaud wines

Everything you need to know about Rayas

Albiera Antinori is the first woman to take the helm of the Antinori empire. And “empire” isn’t an exaggeration for a dynasty that rose to prominence in the late 13th century, making its fortune in the silk trade, and later banking. The family has been making wine since at least 1385, when Giovanni di Pietro Antinori registered with the winemakers’ guild in Florence. To put that in perspective, that was before the Gutenberg bible was printed, before the fall of Constantinople, before Christopher Columbus set sail for the Americas.   Now, over six centuries later, Marchesi Antinori owns almost 3,000 hectares of vines across 21 estates (plus additional land that is dedicated to forest, olive groves etc) spread across the globe, and is among the oldest family businesses in the world (sitting at number 10 globally). Once part of Italy’s aristocratic elite, the Medici family line may have faded into extinction, but the Antinoris – like the Ricasolis – still hold significant sway.  Looking at Albiera Antinori on my screen, however, it’s hard to tie this pedigree to the woman in front of me. Now aged 58, she – along with her two sisters – represents the 26th generation of the family. Olive-skinned, relaxed and with a gentle smile, she props her glasses back on her head once the inevitable technical issues are resolved, settling back into her chair for our Zoom call. She may be one of the most powerful figures in Italian wine, but you wouldn’t know it.   Harvest is just getting underway as we sit down to talk about her family and its legacy – a time that she remembers fondly as a child. She grew up in Florence, but spent weekends and holidays in Bolgheri or at Tenuta Tignanello in Chianti – and wine was simply part of life. Some of her earliest memories are of the harvest and sipping wine (diluted with a drop of water) over dinner at Tignanello, gathered around the table with her grandfather, Niccolò Antinori, and the rest of the family.  It was when Albiera finished school that wine moved into the foreground. She didn’t yet know what she wanted to do and – with harvest at Castello della Sala was set to start in a few weeks’ time – her father, Piero Antinori, suggested she work there, that way she’d at least be earning some money while she figured things out. “From then on, it’s been a kind of snowball,” she says, smiling. Once the fruit was in, the wines needed making, there were vineyards to be managed and planted, and soon she was travelling, telling the world about the wines her family made. She had fallen down the rabbit hole.  Has she ever wondered about the path not taken? No, is the short answer, she tells me – and she’s been able to combine her other passions with work for Antinori. Take architecture: she has overseen the construction of 12 wineries during her tenure, working closely with the team to develop the perfect building for each.   She officially took the reins of the business in 2017 – but, as the eldest, she almost fell into the role of CEO. She may be at the top of the figurative tree, but it’s a family business through and through. She works closely with her sisters, both of whom are Vice Presidents (Alessia oversees the winemaking and Allegra manages the company’s various restaurants). Their father Piero – now approaching 90 – is still in the office every day too.   The Antinori name has long been associated with boundary-pushing. Albiera’s grandfather Niccolò was one of the first to stir things up in Chianti. In 1924, he put Bordeaux varieties in the family’s Villa Antinori Chianti – a scandalous act at the time. Niccolò’s brother-in-law was Mario Incisa della Rocchetta, who planted Cabernet Sauvignon on his wife’s Tenuta San Guido estate in 1944. The wine was made for family and friends at first, but when Piero Antinori (Niccolò’s son and Albiera’s father) took over running the family business in 1966, he saw the potential. Giacomo Tachis, the Antinori winemaker, started making the wine and ageing it in new French oak. By 1971, Piero had persuaded his uncle to release the 1968 vintage commercially: Sassicaia – and the Super Tuscan movement – was born. It wasn’t long before Piero followed with his own offering, releasing the first vintage (1971) of Tignanello – a blend of Sangiovese and Cabernet from their eponymous estate in Chianti Classico – in 1978. Solaia soon followed (first made in 1978).  “The equilibrium between innovation and tradition is always something very delicate,” says Albiera. The family’s revolutionary spirit lives on, but she’s aware that their history, legacy and tradition is “a real asset” – one that shouldn’t be overlooked in today’s global wine market. While once they had to force the world to acknowledge the quality of Italian wine, now their focus on celebrating local varieties and creating wines that are true to their terroir. That remains true across their estates – no longer just in Tuscany, but from Puglia to Piedmont, as well as beyond – with properties in Chile and California (including Stag’s Leap Wine Cellars). At its core, however, their philosophy can be summed up in one word, she says: quality.  The next generation is already on board, with Albiera’s children Vittorio and Verdiana working alongside her. Their journey was totally different – going to university, taking master’s degrees and gaining experience at wineries around the world – a more conscious step into the family business. There was, however, no denying their fate.  Being an Antinori, Albiera says, “means a responsibility towards the people that work with us, towards the history that we have, and towards the land that we farm… a solid and constant commitment to doing things well, to doing things with intelligence, to do things that are long-lasting”. After six centuries in the business and a portfolio of estates around the world, that responsibility continues to grow – but it’s a duty the Antinoris seem uniquely suited to handling.  The new vintage of Solaia (2022) is now available  Explore all current Antinori listings or read more Editorial 

The Antinoris are one of Italy’s most famous families. As the new vintage of Solaia is released, we caught up with Albiera Antinori – the 26th-generation CEO and President of her family firm

Sitting down with Albiera Antinori – CEO of Marchesi Antinori, company that created Super Tuscan Tignanello to find out more about their wine dynasty 

Talking to Albiera Antinori about the family’s wine empire 

The Antinori empire 

Inspired by a Russian, first made by a Hungarian, who was succeeded by a Frenchman and then a German, the winemaking lineage at Masseto has been decidedly international – until now, that is. Since January 2024, the leading Super Tuscan and Ornellaia’s sibling estate has had its first native at the helm: Marco Balsimelli – born in Arezzo, not far from Siena, took the reins from longtime Production Director Axel Heinz.  Balsimelli comes with his own illustrious pedigree, having long been based in Bordeaux, working at Gruaud Larose and, since 2010, alongside the famous Eric Boissenot as a consultant winemaker to many of the region’s leading estates, but the chance to work at Ornellaia and Masseto – iconic names from his Tuscan homeland – was an opportunity he couldn’t turn down.  It was André Tchelistcheff (the Russian-born Napa winemaker) who first suggested to Lodovico Antinori that a particular hill on the Ornellaia estate would be perfect for Merlot. Tchelistcheff was consulting for Antinori, and recognised the potential of the parcel of blue clay – the same soil that is synonymous with Pétrus. Back then, in the 1980s, Merlot was barely planted in Tuscany and remained an unknown quantity in the region, with only Castello di Ama – based further inland in Chianti Classico – having some vines (today used for its flagship L’Apparita). Nevertheless, the Ornellaia team took a chance and planted most of the seven-hectare swathe of clay in 1984 (additional planting took place in 1995).  The first vintage of Merlot from the site was made in 1987: Masseto was born. The name comes from “masso”, Italian for rock, after the large boulder-like clumps of clay that dot the vineyard’s surface. It didn’t take long for the wine to earn international acclaim, with Wine Spectator giving the 2001 vintage 100 points, and its place was cemented in vinous history.  Although Tchelistcheff consulted until 1989, replaced by Michel Rolland from 1991, Hungarian Tibor Gál was the property’s first winemaker. Gál was succeeded by Thomas Duroux (now of Ch. Palmer), who in 2005 passed the baton to Axel Heinz, the German-born winemaker who preceded Balsimelli. The property has changed hands over the years too, with the Mondavi family taking a share in 1999 before buying it outright from Lodovico Antinori, and selling it onto the Frescobaldi family, who took full ownership of Ornellaia and Masseto from 2005.  Much might have changed, but the terroir hasn’t. “It’s a very special site,” Balsimelli tells me. The all-important clay dominates the topsoil, which is only about a metre deep. When it rains, the clay swells, making it near impossible for the vines’ roots to develop. High sodium levels in the soils only accentuate the problem. “For the roots, it’s a battle every day,” he says. It’s that struggle, he feels, that you can taste in the concentrated, high-acid fruit from the site.  The climate is key too, lying just 10 kilometres from the Tyrrhenian Sea. Fresh marine breezes mean the temperature is around 5°C lower than that in central Tuscany, with a drop of circa 15°C from day to night. Combine this with the light reflected off the sea, and you get a long growing season, preserving aromatics and acidity, yet encouraging phenolic ripeness – wines that combine perfume and power. Surrounded by forest, there is a reason that Masseto is run as an entirely separate project to Ornellaia, with its own unique identity – even if it has always shared a winemaker (and, until 2019, a winery) with its sibling estate.  For Balsimelli, the project has provided a fresh challenge. The shift away from a consultant role – no longer offering advice before moving on to the next project, but sitting with each and every decision – adds a new weight of responsibility. “I spend a lot of time thinking about the technical questions and the consequences,” he tells me. Since most of his work with Boissenot had been based on Bordeaux’s Left Bank, focused on Cabernet-driven blends from larger estates, working with a small property, focused on just one variety and various sub-plots is a different sort of jigsaw puzzle. The approach, for him, is much more Burgundian – all about expressing the purity of the site and its blue clay. “You have to be perfect with only one type of soil and one grape variety,” he explains.  The quest for perfection was started long ago at Masseto and today the vines average between 20 and 30 years in age. They’ve also been moving from cordon-trained to bush vines – first trialled in 2008 and something which they have found helps temper the effects of global warming (coping better in dry conditions and shading the fruit from the heat of the sun). Farmed organically since 2012, there has also been a significant focus on encouraging biodiversity across the site, including using cover crops to reduce soil compaction, increase organic matter and retain humidity in the soils.  Balsimelli’s first vintage was 2024, which won’t be released until 2027. But he’s clearly excited by the site, as well as how he can tweak and improve a wine that is already lauded by critics and consumers. “When you taste old vintages of Masseto, you can feel the legacy, taste the terroir,” he says – and that’s exactly what he wants to do moving forward, channelling the Boissenot philosophy: understanding a piece of land and finding the best solution to express it in the glass. For him, that solution will be all about accentuating the wine’s elegance.  He notes how there was – across the world of wine – a trend towards low yield and high levels of maturity in the early 2000s, but his preferred vintages are those that saw more balance. The 2006, for example, is his favourite at the moment – a year with more rainfall, more vigour, and – he feels – more energy as a result. It’s a vintage that he believes is “the key for the future”.  The site is one that can ripen quickly, and he plans to focus on freshness, maybe picking a little earlier, reducing extraction and lowering temperatures for maceration. The 2022 is the vintage set to be released this September – a wine that Balsimelli notes shows just how good the site is – performing even in tricky conditions such as 2022’s hot growing season. It is, he says, “the magic of Massseto”. Magic it may be, but Balsimelli is set on elevating this special estate even further.   Explore all current listings of Masseto or read more Editorial 

Often considered the Pétrus of Italy, Masseto is a wine like no other. Ahead of the new release, we sat down with Marco Balsimelli – the man at the helm today – to talk about the special site and what lies ahead for the Super Tuscan 

Talking to the Super Tuscan’s new Production Director Marco Balsimelli about Masseto, Ornellaia sibling estate and its unique Merlot wines

The magic of Masseto - Marco Balsimelli

The magic of Masseto

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