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 

This week saw the release of the Wine Advocate’s first report on 2016 Brunello di Montalcino, written by Monica Larner. It’s only a first look rather than full review, as – with the current restrictions on travel, some producers have preferred to hold back their samples until early
next year – so the report doesn’t include the full line-up of releases. This is the third major report to be released on the vintage in the last few weeks, following on from the Vinous (courtesy of Eric Guido) and James Suckling reports earlier in the month. All are in agreement, 2016 is an exceptional vintage. Perhaps the most exciting thing about 2016 is the huge range of excellent wines. The sheer scope and variety between them could keep a collector very happy for a very long time. There is universal agreement that the younger generation of more open-minded Montalcinesi are bringing real excitement to the region. Their impact has only become more evident in the region’s most recent yet completely contrasting vintages. 2015 showing off the fantastic concentration and fruit purity. 2016 its precision, structure and elegance. With 2017 looking like a much more difficult vintage – it’s worth making hay while the sun shines, and it has never shined brighter in Montalcino than today. 
2016 versus 2015 
For Monica Larner and Eric Guido, 2016 eclipses the hugely successful 2015 vintage. For Guido, who was a lot less taken by the 2015 vintage, there is little comparison to be made – 2016 is by far the better vintage in terms of typicity, precision and aging potential. For James Suckling, 2015 and 2016 are the best vintages ever made in the region and he is well-equipped to make such a statement, having tasted Brunello extensively back to the early 1980s. For Suckling, the 2015 just pips the 2016s to the post, but largely due to their approachability, stating that the 2016’s “intense tannins” make then a lot less accessible at this early stage. Eric Guido’s views of the two vintages are more polarised. In his 2015 report, he felt the exuberance and warmth of the 2015 vintage in the wrong hands could produce wines that were made “simple” by their ripeness, questioning their potential for “serious evolution”. He states that the 2015s do not compare with the other great modern vintages of 2004, 2006, 2007 or 2010 – yet 2016 certainly does, stating, “They are like a well-muscled black stallion in its prime. They are dark yet radiant, expressive, nearly explosive at times, yet pure, poised and structured… I frankly cannot remember the last time I tasted young wines from Montalcino that possessed such symmetry from start to finish.” Monica Larner feels there is less between the two vintages when it comes to quality, although she admits a personal preference to the style of the 2016s, stating. “I prefer the classic purity and linearity of the slightly cooler 2016 vintage to the more exuberant and texturally generous wines from the warmer 2015.” She actually believes the 2015s generally are “more even keeled” than the 2016s, where the “transparency” of the vintage has exposed both the highs and lows of the vintage. Despite this, she believes the power and elegance is greater in 2016 overall. Although too early in the wines’ evolution to directly compare with the 2010s, she believes it certainly is up there in terms of quality in the best examples. For James Suckling, it is the consistency of quality that marks out a great vintage – and both 2016 and 2015 tick that box: “I learned a long time ago as a wine critic that great years are years when everything is outstanding from the lesser-known properties to the most prestigious ones. The 2016 and 2015 vintages certainly achieved this, making this pair of years the greatest ever for Brunello di Montalcino.” He concludes that 2016 Brunello is the ideal vintage for laying down and enjoying over the long term, whereas 2015’s open-knit style makes them already approachable and enjoyable now.  

 The rise of the crus Larner makes the points that 2016 has certainly been a vintage that has showcased the rise of the Crus in the region, with many of her favourite wines coming from single vineyards. Most notably, she awarded Il Maronetto’s Madonna delle Grazie 100 points, but also Casanova di Neri’s Cerretalto and Tenuta Nuova both featuring in her top 10. A winery that has championed the concept of single vineyards in Brunello since the early days, first releasing the Cerretalto with the 1981 vintage. Eric Guido believes that this is still early days for the region’s Crus and we should expect many more over the coming vintages, with many producers registering names for future releases. The fact that all the top Crus in 2016 – Ciacci Piccolomini d’Aragona’s Pianrosso from Castelnuevo dell’Abate, Casanova di Neri’s Crus from Canalicchio and Il Maronetto’s Madonna delle Grazie from central Montalcino – are situated in very different parts of
Montalcino bodes well for the potential and variety set to develop as more producers start producing single-vineyard wines. Eric Guido points out that to produce a Cru wine, by law producers must reduce their yields from Brunello’s nine tonnes per hectare to seven. This means that these single-vineyard wines are about more than just terroir, the lower yields adding more intensity and concentration to the wines. Larner says, “Over these past six years, there has been a significant shift to
single-vineyard and so-called “Selezione” wines. This signals an important change in perspective and illuminates the very way the ilcinesi see themselves: not as a monolithic wine region but as a complex and fluid assembly of various moving pieces and parts. This self-awareness is key to Montalcino’s future success in an increasingly competitive marketplace.” 
Top-rated wines There’s no shortage of high scores this year – and many are already on the market. Here’s a short-list those that are well worth looking out for. Casanova di Neri Few producers have been so universally well scored than the single vineyards of Cerretalto and Tentua Nuova from Casanova di Neri. The Cerretalto 2015 Riserva being awarded 100 points from Suckling and 98+ points from Larner. Their Tenuta Nuova 2016 awarded 97+ points from Larner, 96 points from Guido and 99 points from Suckling. Their wines remain some of the most seductive and complex and consistent of the region. Poggio Antico Poggio Antico in terms of price-to-quality ratio also seemed to fare very well across the critics. Although the Altero might not be for the traditionalists, it is an outstanding wine and both their 2015 Riserva and straight 2016 Brunello are exceptional. Altesino Altesino’s straight Brunello, priced at just £185 per case of six in bond and awarded 95+ points from Larner, seems an absolute steal. Giodo Carlo Ferrini’s Giodo was also a fantastic hit for both Suckling (100 points) and Larner (98 points). Larner described it as a “career-defining wine from this proud Sangiovista”. With just over 800 cases produced, it will be a rare find in years to come. Gianni Brunelli Gianni Brunelli’s wines have been remarkably successful in 2016 and remain well-priced for the quality, although availability will likely become difficult, particularly for their Le Chiuse di Sotto, which Larner awarded 100 points – the only 2016 wine other than Il Maronetto’s Madonna delle Grazie to receive a perfect score. Any wine from Brunelli including their 2015
Riserva is well worth seeking out. Other great-value buys include Baricci, Livio Sassetti, Il Poggione and Castiglion del Bosco – all of which received glowing reviews

The 2016 vintage in Montalcino is one of the best we’ve tasted – and the critics have now had their say. Here’s an overview of the Wine Advocate, Vinous and James Suckling's reviews – and the wines they rate most highly

Our round-up of the reports from Vinous, Wine Advocate and James Suckling on the 2016 wine vintage in Montalcino. And it is one of the best we’ve tasted

What the critics are saying about Brunello 2016

Brunello 2016: what the critics are saying

Bosco Agostino

Italy

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