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.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

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Domaine de Montille is one of the most historic estates in the Cote d’Or, founded in 1730 and family-run and owned ever since. Today Etienne de Montille is the ninth generation at the helm.  The De Montille story through the ages is a familiar one in Burgundy in which for a long period there was a dwindling of holdings as more and more of their prized vineyards were agonisingly sold off to make ends meet during the lean years of the early twentieth century. Etienne’s father, Hubert de Montille took over the estate in 1947, aged just 17, by this time the domaine had just 2.5 hectares to its name. Etienne’s father knew that he had to change tack if the domaine was to survive and worked both as a vigneron and a lawyer to finance returning the estate to its former glory. Like his father, Etienne used his earnings as a lawyer to build up the domaine’s acreage, including a novel acquisition approach that in 2005 saw him acquire one of the region's finest Premier Cru sites - Vosne-Romanee Premier Cru Les Malconsorts – neighbouring the Grand Cru of La Tache.  The estate now produces over 35 cuvées from appellations throughout the Cote d’Or. Etienne talks us through the De Montille’s bumpy history, its extensive vineyard acquisition in recent years, how he learnt to make white wine from his brother-in-law (who just so happened to be Jean-Marc Roulot), as well as mapping out the different flavour profiles of his favourite sites at the heart of the domaine in Volnay and neighbouring Pommard. 
The history of the domaine 
Based in Volnay, the De Montille estate has had its fair share of ups and down. It once had one of the finest portfolios of vineyards anywhere in the Cote d’Or (including Bonnes Mares, Musigny and Amoureuses), before these famed sites were sold off to make ends meet. Hubert de Montille on taking over the estate in 1947, brought renewed fame to the domaine, being one of the first in Burgundy to domaine bottle his wines and whose Volnay 1er crus quickly became some of the finest in the appellation. At this time, 90% of all Burgundy was made and bottled by the large négociant houses.  
Whilst historic estates such as Domaine de la Romanee Conti, Georges Roumier and Armand Rousseau were bottling their own wines, it was the Marquis d’Angerville of Volnay that no doubt set a trend in the Cote de Beaune by bottling his own wine, starting in the 1930s. Marquis d’Angerville chastised the exploitation of the main negociants at the time, who in response refused to bottle his wines, forcing him to bottle them himself.  As Etienne explains the Marquis d’Angerville was an important figure in Burgundy at the time, not only setting the trend of domaine bottling in the region but also becoming one of the main instigators behind developing the AOC framework of the Cote d’Or, mapping the official boundaries of the Grand Cru and Premier Cru sites, a process that began in 1935. 
The distinct influence of Hubert de Montille 
The De Montille estate became famed for Hubert’s single-minded approach of making wines how he wanted them, austere and built for long ageing, making them fairly unapproachable in their youth. He was also known for his minimal chapitalisation, a method which he discovered accidentally by miscalculating his sugar levels on one of his cuvees in the 1959 vintage. It was only a couple of years later that he discovered how much better this cuvee aged than his other wines of the 1959 vintage and therefore adopted this approach going forward.  
Whilst, as Etienne explains, chapitalisation (the addition of sugar to the grape juice prior to fermentation to increase alcohol levels) in top estates in the modern era is very rarely adopted, it certainly didn’t harm the estate’s reputation when critics in the '90s started to raise concerns over over-chapitalisation as a worrying trend in the region.  Whilst over-chapitalisaton is rare today, the process is still adopted in the wineries when necessary. Very rarely spoken about amongst vignerons, Etienne describes it as similar to the seasoning of food. Certain cuvees in certain vineyards may benefit from a light chapitalisation or even acidification if required; two processes that remain contentious outside of Burgundy. With De Montille famed for low chapitalisation and long ageing wines, the domaine's reputation continued to grow. 
Etienne takes on the domaine 
On taking over the domaine in 1998 (following a staggering 50-year stint by his father), Etienne de Montille was an early advocate of organic farming. He continued to grow the estate, incorporating more Chardonnay vineyards to what was previously exclusively a Pinot- Noir producing domaine. Their first white wine vineyard purchase was the 1er Cru Puligny Montrachet Le Caillerat bought by Hubert in 1993. Etienne learnt how to make white wine under the guidance of his brother-in-law, who just so happened to be Jean-Marc Roulot and only helped see the domaine’s reputation grow.  Etienne recounts how Jean-Marc Roulot had a similar route to winemaking in that they both had successful careers outside of wine before returning to their family estates. Jean Marc Roulot is an actor, and was based in Paris at the same time Etienne was working as a lawyer there. Having both a separate career and being a vigneron, Etienne believes, made them both very open-minded in their second profession as winemakers and Jean-Marc Roulot was happy to share his knowledge in white wine production as well as them both being more innovative with their methods.  
Having two professions was a tradition passed down from one generation to the next of the de Montille family, with one of the siblings always working in legal services either as judges or lawyers. Etienne explains how it was in fact Hubert de Montille’s work as a lawyer looking after the estates of Monsieur Chatron that led to the acquisition of De Montille’s first chardonnay vineyard – Puligny Montrachet 1er Cru Le Caillerets – one of the finest sites in Puligny neighbouring the Grand Cru of Montrachet.  
Hubert worked as his lawyer advising him on how to pay off his inheritance fees in order to pass down the estate to the next generation. To do this he had to sell off some vines and offered Hubert to buy the Le Cailleret vineyard in Puligny to thank him for his services. Although not an experienced white winemaker, with Jean Roulot recently marrying his daughter, it seemed to be the perfect opportunity to get him on board and teach the young Etienne his white wine philosophy. 
A novel acquisition approach  
Etienne’s experience as a lawyer gave him the confidence to incorporate a novel approach to acquiring vineyards in the Cote d’Or at a time when vineyard acquisition was and remains a contentious issue for vignerons in the region. It led to Etienne successfully buying up vineyards including one of the Cote d’Or’s greatest sites: Vosne Romanee 1er Cru Malconsorts, neighbouring the Grand Cru of La Tache. Etienne explains that although his father had successfully taken his 2.5 hectares estate to 10 hectares over a 50-year period, the land prices of Burgundy were becoming too expensive for this to continue.  With the Malconsorts vineyard along with the vineyards of the Thomas Moillard domaine put up for sale, Etienne thought the opportunity was too good to miss and approached the Seysses family (Domaine Dujac) to see if they would be interested in setting up a land company, buying the land together and using minority shareholders to finance the acquisition.  
These minority shareholders would then rent out their share of the land to the two estates and were often paid back in wine. Back then, Etienne states, it was the first time ever in Burgundy that two smaller family estates had bought a larger property. Etienne pioneered the legal structure to favour the vignerons with the controlling share and it became a popular method that was copied all over Burgundy by other vignerons following their success. Etienne states “this is unlikely to happen again, land in Burgundy between now and 2005 has gone up by almost 12 times the value”.  Despite this, Etienne successfully managed another huge acquisition following the financial crash of 2008 when he purchased Domaine de Puligny Montrachet. This estate was a property he had managed ever since he returned back to Burgundy from Paris in 2001. At that time it was owned by a bank and following financial pressures of the economic crash in 2008, viewed the estate as a non-performing asset and therefore put it up for sale. Due to Etienne’s connection, he was given first refusal.  Since taking over the property in 2009 an EU law that came into practice in 2017 banned the use of an appellation name to be part of a domaine name, so since 2017, the wines under the original Chateau de Puligny Montrachet have been incorporated into the De Montille domaine, increasing their holdings to a total of 37 hectares (20 in red; 17 in white) in 35 separate appellations. 
Etienne de Montille's winemaking philosophy 
But Etienne’s skills are not only in acquisition. He was an early advocate of organic farming, practising organic principles from 2003. He also changed the style of the De Montille wines making them less austere than his father’s with his influence coming through the wines from the 1998 vintage onwards. Etienne incorporates whole bunch fermentation but varies the quantity depending on the specific terroirs.  
Identifying the nuance of each site and how much whole cluster to use is the key to his red winemaking, ranging from 20% to 100% whole bunch depending on the site. He carries out no cold soak prior to fermentation which takes place at ambient temperatures with low-level extraction, punch downs are carried out only when necessary. All wine is aged in barrel between 5% to 60% new oak depending on the site and vintage conditions, followed by a long élevage prior to bottling. The approach to white wines, under the influence of Jean-Marc Roulot’s teachings, is to be very conscious of preserving the acidic backbone of the wine providing a precise length and expression of terroir. The wine is barrel fermented followed by long élevage (12 months in barrel) and aged further on the lees in tank - 2 to 6 months with one racking. The percentage of new oak again varies depending on the specific plots, ranging from 5% to 50% new oak barrel. 
Mapping Volnay and Pommard’s Premier Crus  
Etienne states that all the top Volnay Premier Cru sites are on the middle slopes of the appellation. Whilst slightly varying in topography and exposition, Etienne believes the flavour profiles of each of the vineyards is 80% to do with the geology and topsoil of the specific vineyard, with the winemaking of each producer, the vintage variation and the exposition of the vineyards combined making up the remaining 20%.  This highlights the overwhelming terroir influence of these Premier Crus.  Volnay 1er Cru Brouillards  "This is the most accessible of our Premier Crus and what is best described as 'very Volnay'. It has all the characteristics most closely associated with the appellation – pretty red fruit, very juicy, elegant light tannins and very approachable." Volnay 1er Cru Champans "The Champans is similar to Brouillard in its fruitiness and approachability, although the tannins are firmer and slightly more structured.  "But it is a very expressive and immediate, open-style Volnay. We use two-thirds whole cluster in this cuvee."  Volnay 1er Cru Mitans  "The Mitans is the most perfumed and fragrant of the Premier Crus in Volnay. And whilst the Champans is also very expressive, the aromas of Mitans are more serious, not just fruit but mineral too. Here we use 100% whole cluster fermentation." Volnay 1er Cru Taille Pieds "This is the flagship cuvee of our estate. It is the most mineral-driven wine in Volnay. Very spicy, very stony and lots of saline character. The wine has huge depth and a very long finish.  "It is however the least open and the less approachable requiring time in bottle to develop. Even at 40 – 60 years old the wine shows beautiful combination of rose petal, earth, morrel mushroom and truffle character. The wine has so many facets to it."  Pommard 1er Cru Rugiens Bas  "This wine is a planet on its own. It has the elegance and finesse of top Volnay site but with the depth and breadth and structure more akin to top Pommard vineyards. It is Grand Cru quality and the top site in Pommard."  Pommard 1er Cu Grands Epenots "The most classic Pommard in style. Deep clay soils give the wine huge structure, sometimes can be a bit rustic to start with. Tannic, big, powerful wine." 
Pommard 1er Cru Pezerolles "This is the most Volnay-like Pommard 1er cru in the appellation despite being the furthest site away from Volnay. It is the most elegant Premier Cru of Pommard."  Nuits Saints Georges 1er Cru Aux Thorey  Etienne describes how this single vineyard site was bought in the acquisition of the Thomas Moillard domaine, along with the Malconsorts vineyard. When identifying which vineyards to buy in the sharing of the estate Etienne heard that Sylvain Cathiard considered the Aux Thorey vineyard to be amongst the best terroirs in Nuits St Georges and that was enough to persuade him of its potential. The site is certainly more Vosne in profile than Nuits Saint Georges, with fine tannins, elegant structure and beautiful perfumes similar to the vineyards of the much admired La Damodes.
 Explore more Editorial 

Etienne de Montille talks us through the De Montille’s bumpy history, its huge growth in vineyard acquisition, how he learnt to make white wine from his brother-in-law, Jean Marc Roulot, as well as mapping out the different flavour profiles of his favourite sites in Volnay and neighbouring Pommard.

Domaine de Montille is the most historic Cote d’Or estate. Etienne de Montille talks about the Volnay wine estate's bumpy history and its huge recent growth.

The Genealogy of Domaine de Montille

Domaine de Montille: The genealogy of the estate

When Jean-Marc Roulot wandered through the family estate’s cellars one, seemingly ordinary day, he happened upon something unexpected. The vigneron had walked the hallowed paths innumerable times during his legendary father Guy’s life and during the 15 years since his sudden passing in 1982. But there, in a long-forgotten corner of the cellars, lay 12 dusty bottles of apricot liqueur. Jean-Marc knew all about his father’s production of pear and apple brandy, and his family tradition of producing marc de Bourgogne and fine de Bourgogne. The still, which he used and remains in operation today, dates back to 1866 and used to be on wheels so the family could move from village to village. So well-known was this distillation heritage, in fact, that Jean-Marc’s mother used to joke that the still paid for their vineyards. What came as a surprise to the actor-cum-winemaker was the existence of L’Abricot. “I had never seen him make this liqueur,” the 65-year-old says. “It was absolutely delicious and I wanted to try to find this recipe.” This discovery in 2008 set Jean-Marc on a mission to reproduce the liqueur from instinct, as no recipe existed, and increase the estate’s staple of brandies, eaux de vie and liqueurs. In some instances, the winemaker was able to follow recipes and meet with fruit producers to reinstate his father’s relationships. For others, he had to forge his own path. “I wanted to reconnect with that [tradition],” he adds. Jean-Marc says he’s always had a passion for distillation, having learned the skill from his father, and feels it has influenced his winemaking. When distilling, Jean-Marc focuses on two things: purity and authenticity. When asked, he says it is of paramount importance that the end product tastes like the fruit. It seems obvious, perhaps, but this is not always the case with overly saccharine fruit-based liqueurs. In order to achieve these two things, Jean-Marc has reduced the sugar levels over time – from 180g/l sugar 10 years ago to 160g/l in the latest iterations. “Sugar is of course a flattering element in a liqueur, but it can also mask the fruit,” he says. “By lowering the sugar levels, I feel like I'm putting the fruit forward.” From more classic pear and raspberry to the most recent addition, lemon liqueur, Jean-Marc says the fruit choices have largely been emotive. “I chose to make a pear alcohol since my father already made this 40 years ago with fruits from the Hautes Côtes de Beaune,” he says. “He was doing the same thing in a much smaller amount with the raspberry than I am doing. For these two fruits in brandies, it is therefore a family tradition.” The pears are sourced from the same site in the Hautes Côtes de Beaune that his father used, while the apricots (previously from the orchards of Chave) come courtesy of Laurent Combier (of Domaine Combier) in the Rhône. While he used to be able to source them locally, raspberries are now hard to find – and these, along with his lemons, come from further afield (Bulgaria and Sicily, respectively). After finding the bottles of apricot liqueur and working with the fruit in that capacity, the idea occurred to Jean-Marc to ferment them to make brandy as well. He’s also turned his hand to lemon liqueur and doesn’t rule out further fruit experimentation, perhaps with grapefruit. When asked about these fruits in relation to terroir, Jean-Marc says he doesn’t think they can reflect their terroir “as well” or “as faithfully” as grapes. “Perhaps this is due to the size of the plant, the density of planting, the attention we pay to the work of the vineyard and all the care we take around the grape when it comes back to the winery,” he adds. “There is generally a ‘signature’ effect in grapes that I do not find in a fruit like pear for example.”  He does, however, think the distillation process has taught him a considerable amount. “As we are mainly winegrowers, we seem to think that our knowledge on this subject has influenced the work on the still, but I sincerely believe that the precision that distillation requires has influenced us in the other direction, towards our work as a winegrower.” One senses Jean-Marc’s discovery of those 12 unassuming bottles all those years ago had a much greater impact on him than merely influencing his production of superlative wines, and now, his fruit brandies, eaux de vie and liqueurs. Find out more about Domaine Roulot or read more Editorial

Meursault-based Domaine Roulot is one of the finest estates in the Côte de Beaune. But it’s not just grapes that cross the threshold at this domaine. Owner and winemaker Jean-Marc tells us about the family’s fruit-based spirits – and how they’ve influenced his winemaking

The famous Meursault vigneron Domaine Roulot on his family’s other project - the family’s fruit-based spirit

Domaine Roulot Meursault fruit-based spirits

A secret still: Domaine Roulot

Honeysuckle, peach, jasmine. Ripe, perfumed and exotic, viscous and heady – but, at its best, with a mineral, saline line and phenolic grip that keeps its hedonism in check. Condrieu is a wine like no other – and one that couldn’t be much less fashionable if it tried.  And yet, its top bottlings are incredibly hard to find. The likes of Georges Vernay’s Coteau de Vernon or Guigal’s La Doriane fly out on release. Chapoutier’s Coteau de Chery is absorbed effortlessly by France’s finest restaurant wine lists. The iconic Château-Grillet has almost vanished from the world of retail since it was taken over by Artémis. Production might be limited – but it’s also clear that there’s more than enough demand for these very special wines from the Northern Rhône.  The appellation and its unique expression of the Viognier grape has a rocky history. The Romans were the first to cultivate vines in this corner of the Rhône Valley – and they’ve been there ever since. By the 17th century, the wines from the steep slopes around the village of Condrieu were renowned throughout France. In 1853, there were 143 hectares of vines in the region – but then plague and pest arrived: powdery mildew swept through the vines, swiftly followed by phylloxera, decimating vineyards across Europe. With two World Wars, as well as the industrialisation of the valley, the workforce fled the vines for more stable, salaried factory work: looking up at the back-breaking angle of its slopes, entirely unmechanisable, it’s easy to see why the region’s vineyards were almost entirely abandoned. When the Condrieu Appellation d’Origine Contrôlée (AOC) was created in 1940 (encompassing the villages of Condrieu, Vérin and Saint-Michel-sur-Rhône), just six hectares of vines remained.  Only eight of the potential 170 hectares were planted in the 1960s and Condrieu’s future looked uncertain. But one vigneron was quietly working to change that.  Georges Vernay – whose father Francis Vernay had helped create the appellation after planting his family’s first vines on the Coteau de Vernon in 1937 – believed in the alchemy between Condrieu’s biotite granite slopes and the Viognier grape. At the time, the region was best-known for its stone-fruit – with a kilo of peaches worth significantly more than a kilo of grapes. (The area is still known for its fruit today, Jean-Marc Roulot sources the apricots for his eau de vie and liqueur from the Rhône.) When Georges Vernay uprooted orchards to plant Viognier, people called him a fool.  “No one believed in Condrieu anymore, or in Viognier anymore,” Philippe Guigal – the winemaker and third-generation at the helm of his family’s company – tells me. Philippe’s father Marcel was another pioneer of the region, persisting in making fine wine from the region’s uneconomically steep terraces.  Vernay kept his faith too – championing Condrieu, but also Viognier. Almost all the Viognier in the world was planted in Condrieu at the time, and Vernay supplied cuttings to those outside the region – encouraging others to plant this distinctive grape. At the same time, he championed the region with his age-worthy wines, especially the now-iconic Coteau de Vernon.  By 1986 there were still only 19 hectares of Condrieu planted, but Vernay’s battle started paying off – wine-lovers fell for Condrieu’s rich, textural whites and plantings rocketed. There were 38 hectares of vines by 1992 and 217 by 2024. But it wasn’t just in the Rhône that Viognier finally found its footing – plantings appeared in the Ardèche, the Languedoc, Australia, California (especially with the wave of Rhône Rangers, led by Randall Grahm) and beyond. Viognier’s lustre had been restored.  Although now much more widely planted, it’s only in Condrieu that Viognier reaches such heights. Here, on steep terraced slopes in this hallowed corner of the Rhône, the vines sit almost directly on the granite bedrock – a specific type of granite laced with biotite, an iron-rich black mica. It’s this biotite granite that defined the original Condrieu appellation created in 1940 – encompassing vineyards around the villages of Condrieu, Vérin and Saint-Michel-sur-Rhône. The monopole appellation Château-Grillet (sadly unable to comment for this feature) sits within Condrieu, classified four years prior, and sharing the same biotite granite. The iron in the soils is key, lending much-needed tension to the potentially flabby Viognier.  Finding – and keeping – that tension is key to the best Condrieu. And it isn’t about acidity per se, but a sense of freshness.   For Emma Amsellem – who works alongside her mother Christine Vernay at Domaine Georges Vernay, “It’s a combination of different things.” She attributes much to their farming (which is both organic and biodynamic), as well as working with old vines and low yields (normally around 27-30hl/ha). Maxime Chapoutier – who works alongside his larger-than-life father Michel Chapoutier at the eponymous empire – echoes how important vine age is for Viognier, much more so than Syrah or Marsanne, he says. He finds Viognier starts to produce fruit of significantly more complexity at 20-30 years of age, but the vines can also lose interest if they’re too old.   “The beauty of the balance of Viognier comes from its dry extract – from its bitterness,” he explained. It is, Chapoutier says, the hardest grape to pick – harvest too early and you won’t have the necessary dry extract, but harvest too late and the aromatics are too much. Ansellem also emphasised the importance of picking date: although you want to retain as much natural acidity as possible, you also need Viognier to be sufficiently ripe – and the window is getting smaller and smaller with climate change.  The challenge, as Philippe Guigal puts it, is to keep the richness, the full expression of Viognier, as well as its drinkability and salinity. He introduced a Champenois-style cycle, very long and slow, for their Condrieu – something that helps bring out the grape’s aromatics and structure, a concept echoed by both Ansellem and Chapoutier, working with Viognier’s natural thick skins. Chapoutier also highlighted the importance of oxygenising the must and then racking as little as possible, retaining the lees to help build on the grape’s “noble bitterness”.  Guigal is also particularly careful with fermentation temperatures, feeling it is key to keep ferments under 12°C to avoid any potentially heavy aromas.  It's that dry extract that allows top Condrieu to age so beautifully too. Chapoutier explains how he likes to wait at least five years before opening their Coteau de Chery, but it can age for 25, developing more layers of complexity – with notes of honey, lanolin, gingerbread and dried citrus peel. “A great Condrieu is a wine that doesn’t taste of Viognier,” he says.  Tasting through a flight of the region’s top wines last week was fascinating – from Chapoutier’s remarkably fresh, floral Coteau de Chery to the decadent yet mineral Coteau de Vernon from Georges Vernay. More than anything was perhaps seeing the response from those tasting – the wines far surpassing their stereotypical expectations. Not all the haters left lovers, but they certainly had a newfound respect for the style; and those that were already fans fell even harder for its charms.  There’s next to no room for further plantings in Condrieu, largely thanks to Georges Vernay’s efforts championing the region, and quality in the appellation is higher than ever before. The style of its heady wines will always be divisive – and perhaps that’s a good thing given how limited production of the best wines is. Its cool credentials may not quite have caught up yet, but it’s time to open up to the region’s opulent embrace – you won’t regret it.  Top Condrieu cuvées to look out for  Chapoutier’s Coteau de Chery: From a single parcel of vines between 40 and 80 years in age, this is aged entirely in old oak (larger, 600-litre casks). Production is tiny (often only two barrels) and goes almost exclusively to restaurants in France.  Georges Vernay’s Coteau de Vernon: This is just a stone’s throw (100m or so) from Vernay’s other single-vineyard, Les Chaillés de l’Enfer (literally meaning the terraces of hell, for its steep south-facing slopes). From the region’s most famous pioneer, the vines were planted in the 1930s and 1960s, in a natural amphitheatre, producing a profound expression of Viognier that ages beautifully.  Guigal’s La Doriane: Guigal’s top Condrieu is a blend of their top five parcels across the appellation, averaging 35 years in age, matured in 100% new oak – which is seamlessly integrated with the concentrated and powerful fruit.  Château-Grillet: The tiny monopole appellation covers 3.5 hectares of vines. Owned by the Artémis group (owners of Ch. Latour) since 2011, its wines are some of the most sought-after in the world, largely disappearing into wine lists.  Yves Gangloff’s Condrieu: Renowned for its voluptuous style, in all the best ways, this bottling from this famous winemaker is rightfully prized.  André Perret’s Chéry: Known also for their Clos Chanson cuvée, Chéry also comes from the Coteau de Chery, from a three-hectare plot of 70-year-old vines.  Ogier’s Les Vieilles Vignes de Jacques Vernay: Only 125 cases are made of this wine per year, making it incredibly hard to find.  Marie & Pierre Benetière’s Condrieu: Possibly even harder to find than their astounding Côte-Rôties, Pierre was inspired by and studied under Vernay before making his own wines.   Explore all current listings of Condrieu or read more Editorial 

The epitome of Viognier, Condrieu makes some of the world’s most remarkable wines – yet this appellation in the Northern Rhône came close to disappearing. Sophie Thorpe dives into its brush with fate and how producers manage Viognier’s natural hedonism to create wines that stand the test of time 

Condrieu’s wines are better than ever. We talk to Georges Vernay, Guigal and Chapoutier about the appellation’s comeback 

Condrieu’s comeback with Vernay, Guigal and Chapoutier 

Condrieu’s comeback 

Exploring the world of eaux de vie with artisan distillers who are elevating the ancient harvest ritual to the realm of alchemy

Exploring the world of eaux de vie with Rochelt, Capreolus, Domaine Roulot and Capovilla, who are elevating the ancient harvest ritual to the realm of alchemy

FONDATA: The quest for distilled perfection - eaux de vie

Fruits of wonder: the quest for distilled perfection

It’s a damp and foggy morning when I arrive once again in the very quiet streets of Auxey-Duresses for my annual pilgrimage to taste the new Maison Leroy Collection. Last year Madame Lalou Bize-Leroy was in Monaco, so I’m looking forward to seeing and tasting with her again – on what happens to be her daughter’s birthday. Two dogs rush out to greet me eagerly – the 13-year-old black poodle Nine and five-year-old Grand Basset Griffon Vendéen Olga, both quickly quietening down once appeased with some gentle pats. Madame, meanwhile, stands behind them, as elegant and unassuming as ever.   Talking briefly about the state of the market, she repeats how the most important thing is the happiness of our clients. It was at the forefront of her mind when she decided on the wines in this year’s collection, which is dominated by the 2017 and 2018 vintages, with the oldest wine from 2011. It’s good to mix things up, she tells me. After last year’s extensive library release with a flurry of back-vintages, this year she wanted to give the youngsters a chance to shine.  She describes 2018 as a more complete vintage, there is more wine, more matière than 2017; nonetheless 2017 is more refined and delicate, somehow more approachable. We talk about what makes a “grand vin” and she says: “La qualité, c’est les rendements.” (“Quality, it’s the yield.”) Taking Aligoté as an example, she explains that she’ll rarely make as much as 20hl/ha for the Domaine Leroy and Domaine d’Auvenay Aligoté – and for her that’s the limit for producing a high-quality wine. It is impossible to make a good Aligoté at 40hl/ha, she argues – and as she knows from tasting those watery, dilute wines. “I’d actually rather drink water,” she confesses. It’s no secret that her Aligoté is special: and Gilles Desprez (Bize-Leroy’s right-hand man) notes how he was once blown away by a bottle of 1999 D’Auvenay Aligoté served to him blind – a wine that those around the table all thought was a Grand Cru white.  There’s no better judge of a wine than blind tasting – as Bize-Leroy knows. To this day, she blind-tastes everything that makes its way into bottle under the Maison Leroy label. She was recently tasting some 2024s for the range and notes how it’s easy to find a great Nuits-Saint-Georges or Gevrey-Chambertin, but is too often disappointed with Vosne-Romanée and Chambolle-Musigny – struggling to uncover wines in these villages that are worthy of the Leroy seal of approval.  Our tasting begins with the reds this year, starting with an array of 2018s, sampled from south to north, “dans le sens de la Côte” (along the Côte), before moving through the 2017s to a 2016, 2015, 2012 and, finally, the oldest wine in this year’s collection, a 2011 Nuits-Saint-Georges.  The whites include an appellation that she rarely tastes and one that almost never makes it into the range: Savigny-lès-Beaune Blanc. The 2018 in this year’s collection, however, is special – a wine that you wouldn’t be a fool to call Corton-Charlemagne blind, she tells me. And (of course) Bize-Leroy is right: it is sumptuous, with a level of richness and density that far surpasses that of a mere “village”.  With air, it develops further, offering impressive complexity. Madame looks at Gilles: “It’s unfortunate we don’t have any Corton here to compare,” she says. Gilles confirms there isn’t any to hand while she considers the wine in front of her, before insisting – “Are you sure we don’t have any here?” The message is understood: Gilles says there may be some in another building and sets off to find it.   We keep chatting, tasting the 2018 Auxey-Duresses, a little shy after the 2018 Bourgogne Blanc (in her words: “the best Bourgogne Blanc we ever had”) and the superb Savigny. I ask if there are any wines she buys every year – an idea she’s fast to reject: she doesn’t have any contracts, each wine is selected purely on its quality in that specific vintage. I clarify that I meant if there were specific vineyards that she particularly likes, and finds herself buying year in, year out – and says that both Meursault Gouttes d’Or and Chassagne-Montrachet Morgeot are certainly favourites, although it all comes down to how they taste.   Gilles comes back with an unmarked bottle, immediately recognisable by its shape as Domaine Leroy. He is out of breath (earning some teasing, but also having run up and down 200 stairs to retrieve the bottle in question). The wine – a 2018 Corton-Charlemagne from the property – is quickly opened and served. It is typical Leroy: the nose is slightly muted, with some reduction and the popcorn-like notes that you often find in Bize-Leroy’s whites. On the palate, this is what you call packed: I have rarely found such concentration in a Corton-Charlemagne, even in ripe vintages chez Leroy. Madame states that she thinks many would call this a red if served totally blind, given its “matière”. “This is a grand vin,” she says. She explains how special the plot is, at the top of the hill, above her Corton Renardes: “C’est un terroir à rouge.” (“It’s a red terroir.”)   Going back to the Savigny-lès-Beaune Blanc seems like a pointless exercise after the Corton-Charlemagne – but is far from it. The Savigny has benefited from warming up and being open for an hour. In fact, it is far from ridiculous to compare it to its grander sibling. Indeed, Madame Bize-Leroy pauses over it, saying she finds the Savigny more balanced – the wine feeling beautifully layered, yet not heavy or dense. It is by far the best Savigny-lès-Beaune Blanc I have had the chance to try and – as proven by this comparison – would rival most Corton-Charlemagne. Of course, the 2018 Domaine Leroy Corton-Charlemagne is a baby – a wine built to age that will need years before being approachable and Bize-Leroy herself confirms that it won’t be released anytime soon. It has everything to be an exceptional wine in the future, but the Savigny is the one to drink now.  This is my 10th year at FINE+RARE and it’s relationships like this one that define our business: having the chance to share a moment with one of Burgundy’s legendary winemakers, talking openly and honestly about two of her wines, is truly special. Some are fast to dismiss Maison Leroy as “just” Bize-Leroy’s négociant label, perhaps out of ignorance or lack of exposure to the range. I can’t pretend these wines are cheap, but I also can’t pretend that Madame Leroy is like other winemakers. Her nose is remarkable, her access far-reaching, and the resulting wines one-of-a-kind. I can only admire this 93-year-old woman, the way she describes her wines, her humbleness, not to mention the wines that carry her name.  Tasting the 2025 Maison Leroy Collection 2018 Bourgogne Blanc: Maison Leroy’s 2018 Bourgogne Blanc is extremely expressive. Almost exuberant on the nose, it shows concentration, toasted almonds, juicy blood orange and verbena. The palate is equally impressive – and I would be easy to mistake this for a very good Meursault blind. Similarly to its red counterpart, the wine has gained in depth on the palate since we last tasted it. It is lively and expressive, yet with a signature fatness that’s so enjoyable. Madame Lalou Bize-Leroy tells me she has rarely, if ever, had a Bourgogne Blanc of this calibre – and we can only agree at this stage! Drink 2025-2031. 2018 Meursault: The 2018 Meursault from Maison Leroy is less immediately expressive than the Bourgogne Blanc, tasted just before – but don’t let that deceive you. You can feel the tension and seriousness of this wine, with hints of flinty minerality on the nose. The palate is concentrated and refined, nicely balanced and nuanced, with a creamy complexity. Compared to its Bourgogne sibling, this is clearly of a different calibre – a more aristocratic wine with greater density. Although approachable now, it will benefit from another three to five years in the cellar to express its full potential. Drink 2027-2035. 2018 Savigny-lès-Beaune Blanc: Maison Leroy’s 2018 Savigny-lès-Beaune Blanc is packed on the nose. Lovely brioche notes are underwritten by bruised apple and brighter citrus fruit, with delicate touches of lemon blossom. As the wine aerates, it keeps building in density, with layer upon layer – making for a wine that is beautifully fleshy and inviting. On the palate, the wine is so immediately rich and profound – it would be impossible to call this a village wine blind. It has the signature richness of a Corton-Charlemagne, perfectly balanced between power and tension. This is by far the best Savigny-lès-Beaune Blanc I have ever tasted and would be head and shoulders above most Corton-Charlemagne you can find on the market. This is drinking beautifully now but has everything to age effortlessly. Drink 2025-2040. 2018 Auxey-Duresses: Coming from a terroir that can sometime be a bit too flamboyant or invasive, Maison Leroy’s 2018 Auxey-Duresses feels very discreet after the Savigny-lès-Beaune. With notes of fresh almonds and a hint of reduction on the nose, this feels a bit muted. On the palate, the wine clearly has the concentration of the vintage, yet is quite elegant and restrained with a hint of white pepper. This is lovely but will need a few more years to be approachable. Drink 2028-2035. 2018 Bourgogne Rouge: Last tasted in February 2022, Leroy’s 2018 Bourgogne Rouge still displays a very charming, delicately perfumed nose that oscillates between dried rose petals and little red berries, but it seems to have gained in weight and density. It retains beautiful acidity balancing the concentration of the vintage, the finish is clean and vibrant. This is one of our favourite renditions of the cuvée in recent years, youthful and drinking beautifully now, this should keep evolving positively for another seven to 10 years. Drink 2025-2035. 2018 Monthélie: On the nose Maison Leroy’s 2018 Monthélie has beautiful notes of violets wrapped up in a mix of red and black berries, especially blackcurrant. Those very pure and delicate floral aromas carry through to the palate, accompanied by tannins that are very subtle, almost with a hint of sucrosity that makes one salivate. This is a very complete wine that outperforms in this warmer vintage: a wonderful expression of this terroir that, for me, displays the elegance of Volnay with a weightless mouth-feel. Drink 2027-2037. 2018 Volnay: Served just after the 2018 Monthélie, Maison Leroy’s 2018 Volnay has a slightly more discreet nose. It’s perfumed and all about finesse yet a bit shy at this stage. On the palate, there is good concentration and precision, but it does not provide the crunch and freshness that you’d expect at this stage. This is surely elegant and refined, but lacks that little twist that will surely come with a few more years in the cellar. Drink 2028-2040. 2018 Savigny-lès-Beaune: As with its white sibling, Maison Leroy’s 2018 Savigny-lès-Beaune could be mistaken for a Corton blind. It has such a concentrated, solar nose with a darker fruit profile. There’s density on the palate too, the wine fleshy and rich, but not heavy. It’s nicely balanced, with delicate tannin structure and a precise finish. It’s as juicy as it is approachable. Drink 2027-2037. 2017 Gevrey-Chambertin: This was one of the highlights of the 2022 Maison Leroy Collection when it was first released. The wine has retained all its depth, complexity and power, but has shut down a little bit. It is packed with dense dark cherries, hints of sweet spice and forest floor. On the palate the wine offers an enjoyable, mouth-coating, generous and balanced structure, yet the wine feels a bit muted compared to where it was three years ago. This is nonetheless offering a very long finish with fresher note lingering. This is surely a grand village Gevrey that will simply need to be forgotten in the cellar for a few years! Drink 2030-2040. 2017 Pommard: Maison Leroy’s 2017 Pommard speaks of its terroir, combining rich, brooding, ripe blackberry, with hints of blackcurrant and a touch of rusticity, lifted by the freshness and precision of the vintage. On the palate, it has a firm but delicate structure with chewy tannins that are both muscular and velvety. Tasted right after a flight of 2018s, this seems much more approachable (as is often the case with 2017s). The refreshing backbone of acidity drives through the core of the wine, lending a beautiful sappiness to the long finish. Drink 2025-2035. 2016 Santenay, Premier Cru, La Comme: Immediately expressive, Maison Leroy’s 2016 Santenay Premier Cru La Comme comes from this underrated terroir, on the southern border of Chassagne-Montrachet. The charming, multifaceted nose oscillates between raspberry and juicy cherry with a hint of liquorice. The wine is mouth-coating; you can feel the substance here, with a lovely texture that remains delicate and refined. This clearly shows the concentration of the vintage and its tiny yields, but it is all wrapped in a very elegant mouth-feel – creating a wine of great balance. It’s in such a lovely spot now that this is hard to spit out! Drink 2025-2035. 2015 Chorey-lès-Beaune: Packed on the nose, Maison Leroy’s 2015 Chorey-lès-Beaune is quite shy at first, but with a bit of swirling you start to notice how dense and saturated this wine is, with aromas of ripe blueberries, blackberries and a hint of spice (cinnamon maybe?). On the palate, it is concentrated with mouth-coating tannins and layers of berry fruit – raspberry, strawberry and blueberry. This has a lot to say and offer, with an impressively persistent finish, but will benefit from a few more years’ cellaring to reveal its full potential. Drink 2028-2040. 2012 Côte de Nuits Villages: Made with fruit from around Nuits-Saint-Georges and Corgoloin, Leroy’s 2012 Côte de Nuits Villages is always a bit backward on the nose and slightly austere. But it’s also elegant and delicate, the floral notes combining with tertiary notes. On the palate, this feels like it is in a slightly awkward phase, very dense with soft, integrated tannins yet somehow disjointed between the rich dark fruit and a tertiary character. I would leave this for a few more years before revisiting. Drink 2030-2040. 2011 Nuits-Saint-Georges: Finely perfumed, Leroy’s 2011 Nuits-Saint-Georges offers a delicate nose of mixed red berries supported by more earthy notes, some pot-pourri and a hint of spice. On the palate, it’s concentrated and charming, but with air opens further and shows its density, still youthful for a 14-year-old village wine. There’s a hint of rusticity towards the finish that makes one salivate. This is far from the austere expectation one may have for this combination of vintage and appellation. It’s not reached its drinking plateau but is perfectly approachable now. Drink 2025-2040. The new Maison Leroy collection will be released soon: you can see all the wines in the 2025 collection here. Please contact your Account Manager to register interest. 

Each year, our Buying + Partner Director Corentin Margier visits Maison Leroy in Auxey-Duresses to sample the new releases. Here, he reports on his tasting with “Lalou”, the legendary matriarch of the Leroy empire  

Ahead of the release of the 2025 Maison Leroy Collection, we visit Lalou Bize-Leroy to taste with the legendary matriarch and winemaker 

Lalou Bize-Leroy: a living legend – Burgundy’s matriarch 

Lalou Bize-Leroy: a living legend 

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

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

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

Understanding yield and quality in wine

Yield and quality: is less really more?

Montrachet, Chambertin, Richebourg: these names will send chills down the spine of any Burgundy lover. But many of the Côte d’Or’s most famous domaines are looking beyond these grand names, making wines from vineyards and appellations that might otherwise fly under the radar. With reputations at stake, the likes of Domaine d’Auvenay, Coche-Dury and Bizot put as much effort and care into these “lowly” wines as for their Grands Crus. Quality in these appellations is soaring – with better vine material, cooler sites that are benefitting from the warming climate, not to mention better winemaking and know-how all contributing. Here we offer a guide to just a handful of the treasures to be found in Burgundy if you look a bit further afield. Auxey-Duresses Right in the middle of the Côte de Beaune, Auxey-Duresses is a small, sleepy village situated above Meursault. Prior to AC regulations, the white wines of Auxey-Duresses were sold as Meursault and the Pinots sold as Pommard or Volnay. While probably better known for Pinot Noir production, some of its top wines are Chardonnays made in a specific part of the appellation directly bordering Meursault.  Here, high up on the hill, over the brow of Meursault’s highest vineyards you will find vineyards facing unusually north-west. While these vineyards are too cool to adequately ripen Pinot Noir, they have proven to be a great climate for Chardonnay, particularly in today’s warming climate. In a warm vintage, the whites can give the top Meursault vineyards a run for their money. Domaine Leroy, one of Burgundy’s most eminent estates run by Madam Lalou Bize-Leroy, has holdings in this part of Auxey-Duresses in Les Lavières, while Domaine d’Auvenay also regularly produces an Auxey-Duresses Blanc on this particular northwest-facing slope from the vineyards of La Macabrée and Les Boutonniers. Depending on volumes D’Auvenay can produce three separate Auxey-Duresses Blanc cuvées in one vintage or if volumes are down will blend into one. While these are expensive options, the quality is undoubtedly there and this is a great lesser-known spot in the Côte d’Or to source outstanding Chardonnay, particularly in warmer vintages.  Domaine Roulot, Olivier Leflaive and a Jasper Morris MW favourite Domaine Diconne (which has vines dating back to 1924) also produce excellent Auxey-Duresses Blanc on these slopes adjacent to Meursault. While stricter in style than their neighbours, they remain fantastic value. For reds, Domaine Comte Armand’s Premier Cru Auxey-Duresses is another great buy. Made from two complimentary Premier Cru sites – La Duresses (whose brown clay soil brings density and tannic structure) and Les Breterins (on lighter soil bringing fruitiness) combine to make a fabulous Auxey-Duresses well worth discovering. Monthélie Next door to Auxey-Duresses, sandwiched in between Meursault and Volnay, is another lesser-known appellation which has an impressive line-up of producers on its roster. Comtes Lafon, Coche-Dury, Philippe Pacalet, Domaine Roulot and Leroy all produce Pinot Noir from this little, oft-forgotten appellation.  Monthélie is actually one of Bize-Leroy’s favourite appellations for her Maison Leroy selection. Historically, Monthélie tended to produce Gamay more than Pinot Noir, but that is not the case today. While the village wines tend to be a little lean and err too far towards vegetal flavours, the Premiers Crus within the appellation deserve much more attention. Domaine Coche-Dury produces a Premier Cru Les Barbières, while Comtes Lafon’s Premier Cru is in Les Champs Fulliot.  Both have full south exposure, enabling the wines to ripen fully even at higher Hautes-Côtes-like altitudes. In the warmer vintages, you could be justly rewarded for sourcing wines from this under-appreciated little corner of Burgundy. Monthélie is also home to Domaine Potinet-Ampeau, whose collection of older bottlings can wow the senses, provides a fascinating and educational insight into mature Burgundy. Pernand-Vergelesses Few Chardonnay appellations in the Côte d’Or are as underrated as Pernand-Vergelesses. Proximity to Corton-Charlemagne makes this unsurprising. This winemaking enclave, tucked behind the hill of Corton, has long been a consistent appellation where you find outstanding quality at a fantastic price.  While consistent in quality, it is often inconsistent in quantity due to its position between two rising hills. The lay of the land produces natural airflow that attracts hailstorms and is also susceptible to frost as cold air sits in this natural pocket of vineyards. If the region escapes these climatic perils, the Chardonnays are linear and have a flinty, mineral character. The wines can age well, gaining richness as they mature. A top producer of particular note is Domaine Rapet – of whom Wine Advocate critic William Kelley recently noted, “It’s a mystery these wines are not better known or distributed.” Being the biggest landowner of Corton-Charlemagne, they are one of the region’s most consistent white wine producers. Domaine Chandon de Brailles (based in Savigny-lès-Beaune) is also widely recognised for producing the best Pinot Noir in the appellation.  Their Pernand-Vergelesses Premier Cru Ile de Vergelesses regularly competes with top Pinot Noirs made in the more famous appellations and is often described as one of Burgundy’s bargains given the quality. Other better-known producers such as Dugat-Py and a more recent purchase in 2012 by Domaine Jean-Claude Ramonet (one of the world’s top Chardonnay producers) – testify to the quality found here. Perennial FINE+RARE favourite, Domaine Jean-Marc & Hugues Pavelot, also produce outstanding Chardonnay from Pernand-Vergelesses. Morey-Saint-Denis While Morey-Saint-Denis can hardly be described as under the radar, it continues to be undervalued amongst its neighbours despite its obvious pedigree. Morey-Saint-Denis’s prime location in the Côte d’Or sandwiched between Gevrey-Chambertin and Chambolle-Musigny, for some reason – despite being home to five Grands Crus (Clos de la Roche, Clos de Tart, Bonnes Mares, Clos des Lambrays and Clos St Denis) – never gets the same limelight as either of its neighbours.  It’s possible to blame the autonomous nomenclature of its Grands Crus – with only Clos St Denis having a clear link to the village. It has meant that Morey-Saint-Denis as an appellation is seen as somewhat lesser in quality than its neighbours. Another reason might be that, like Auxey-Duresses, before the AC regulations came into play, the wines of Morey-Saint-Denis were either sold as Gevrey-Chambertin or Chambolle-Musigny.  Outside the Grands Crus, our excellent recent discovery is Domaine René Bouvier. Their  Morey-Saint-Denis En la Rue de Vergy is a simply stunning Pinot Noir no matter where it is from. While only classified as village, this vineyard is surrounded by Morey-Saint-Denis’s most illustrious Grands Crus – Clos des Lambrays, Clos de Tart and Bonnes-Mares – on the border with Chambolle-Musigny. In a sunny vintage, this cooler site has excelled and remains one of the great value-buys of 2019. Chassagne-Montrachet Rouge It is not simply lesser-known appellations that get missed. While its Chardonnays get all the attention today, Chassagne-Montrachet was historically a Pinot Noir appellation (as was Meursault). Today, Pinot Noir only represents about 20% of production within the Chassagne-Montrachet Premiers Crus, but until the 1960s, the appellation was dominated by the red grape. Some of the top Pinot Noir sites here were judged to be as good as Musigny, Clos de la Roche and Clos de Tart. Today Chardonnay is the better variety in the village, but there are still top examples of Pinot Noir to be found – often at a great price for the quality. The red wines from the Clos Saint Jean Premier Cru are often described as a unique expression of Pinot Noir – a wine of fantastic finesse, quite at odds with the appellation’s reputation for robust reds. It is arguably the finest site for red wine in Chassagne-Montrachet. Jean-Claude Ramonet produces a top example and Premier Cru La Boudriotte is also great, if not a little leaner in style. Marsannay Most Burgundy buyers rarely explore further north than Gevrey-Chambertin in search of the next big thing, but all indications point in that direction. Marsannay was only given appellation contrôlée status in 1987, encompassing three districts of Chenôve (on the outskirts of Dijon’s urban sprawl), Marsannay La Côte and Couchey.  Unique to the appellations of Burgundy, Marsannay can produce a rosé wine from Pinot Noir.  The foundation for the village’s reputation, many vineyards within the appellation are dedicated exclusively to rosé production. If a red wine is made in these vineyards, it must be declassified to Bourgogne Rouge). While Sylvain Pataille and René Bouvier make the most serious and age-worthy rosés in the appellation, the whites and reds are arguably the most exciting development in recent times. The village of Marsannay is arguably producing the best Pinot Noir for the money in the whole of Burgundy. Cult producers such as Domaine Bizot with Jean-Yves Bizot’s Marsannay Clos du Roy and his Bourgogne Le Chapitre, situated just south of Dijon, are already on aficionado's radars.  These wines are made in tiny quantities and has only further increased the collectability of these wines made in a distinct style (100% whole-bunch fermentations and zero sulphur additions). If sourcing Bizot wines is too painstaking and out of one’s budget, there are plenty of other exceptional growers in this region. Domaine Audoin is producing outstanding Premier Cru Marsannay that can compete with some of the top Gevrey bottlings and the wines still remain fantastic value. Domaine René Bouvier also makes exceptional wines from Marsannay. Côte Chalonnaise: Givry, Montagny and Rully Outside the Côte d’Or, to the south in the Côte Chalonnaise, Mercurey dominates the limelight compared to neighbouring appellations Rully, Montagny and Givry. When handled correctly, however, Givry, can produce fantastic, powerful Pinot Noir that also offers finesse. Rully and Montagny are also a great source of Chardonnay and remain outstanding value.  Montagny only produces Chardonnay – the top producers being Domaine Stéphane Aladame, Domaine Bruno Lorenzon and Domaine Maxime Cottenceau. Rully produces white and red, but the domaine's Chardonnay represents one of Burgundy’s best-value white wines. Producers worth looking out for include Domaine Jaeger-Defaix and Domaine Vincent Dureuil-Janthial. Domaine Joblot is the leading producer in Givry. Their wines consistently compete with those in the Côte d’Or, a beacon for the appellation’s reputation, yet remain sensibly priced. Of the estate’s 14 hectares, nine are Premier Cru, including some of the village’s finest plots such as Clos de la Servoisine and Cellier aux Moines.  L’Empreinte –  a blend of their four red Premier Cru sites (Clos de la Servoisine, Cellier  aux Moines,  Clos  Marole  and  Les Bois  Chevaux – is the property’s top wine. The white, Cuvée Mademoiselle, is a blend of  their  older-vine  Premier Cru  Chardonnay from  En  Veau  and  Clos de la  Servoisine. Joblot is rightfully praised by the likes of Clive Coates MW,  Robert Parker, Allen Meadows and Jasper Morris MW for being the leading address in Givry and one of the greatest estates in Burgundy. Hautes-Côtes de Nuits Situated over the brow of the main Côte d’Or slope and further to the west are the vineyards classified as the Hautes-Côtes (the higher slopes) of the Côte de Nuits. Typically around 100 metres higher in altitude, only the southwest and southeast slopes are warm enough to ripen grapes, but geologically parts of the region are identical to the Côte d’Or.  With warmer vintages, quality here is greatly improving and you can find some outstanding wines at a great price. Two top examples of this come from Vosne-Romanée’s Domaine Gros Frère & Sœur and Domaine David Duband. Both estates have invested heavily in the region believing in the potential of these cooler sites in a warming climate. Aubert de Villaine’s Domaine de la Romanée-Conti also produces an Hautes-Côtes de Nuits Blanc, from grapes grown on the slopes below the historic Abbaye de Saint Vivant. Browse all Burgundy listings or read more Editorial

While the Grands Crus and top villages steal the headlines, often with eye-watering pricing to match, there is so much more to discover in the Côte d’Or. We explore a few of the lesser-known appellations being exploited by some of Burgundy’s grandest producers

lesser-known, best vlue wine appellations of the Côte d’Or: Auxey-Duresses, Monthélie, Pernand-Vergelesses, Marsannay, Côte Chalonnaise: Givry, Montagny Rully

Wine discoveries off the beaten track in Burgundy

Off the beaten track in Burgundy

Domaine du Meix Foulot

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