Bottled as a Saint-Emilion Grand Cru, Ch. Moulin Saint-Georges has risen to prominence under the ownership of the Vauthier family, of Ch. Ausone.

Ch. Moulin Saint-Georges 1:1

The Grand Cru Chateau Moulin Saint-Georges is owned by Chateau Ausone – one of Saint-Emilion’s leading wine estates. Explore the wines 

Chateau Moulin Saint-Georges, Saint-Emilion wine

About Ch. Moulin Saint-Georges 

Ch. Moulin Saint-Georges 

This year Michael Silacci is celebrating 21 years at Opus One. Taking over as winemaker for Napa’s first cult estate and arguably the region’s most famous property (a joint venture between Ch. Mouton Rothchild and Robert Mondavi) was no small task. But Silacci’s experience was almost unparalleled; he’d worked in the valley for 40 years, under some of the most iconic producers in the region’s history. In the 1980s, Silacci was mentored by America’s most influential post-Prohibition winemaker, André Tchelistcheff at Beaulieu Vineyard. In the 1990s, he became the right-hand man of Napa legend Warren Winiarski at Stag’s Leap Wine Cellars. When he took the role at Opus One in 2001, he was making wine alongside Mouton’s winemaker Patrick Léon and Robert Mondavi’s son Tim Mondavi. Of all the many things he learnt from these mentors, it was their belief in him that really empowered him – and it was this that would shape his work ethic at Opus. Silacci understood the power of responsibility from a very young age. Working in his grandfather’s dairy farm at the age of 10, he was an essential cog in the operation. “He was a very practical man,” says Silacci of his grandfather, “and would allow me to get on with my work, without ever looking over my shoulder.” Silacci quickly learnt what was expected of him. Silacci found himself in a similar position in his first winemaking job. He had just finished his studies at the University of Bordeaux. While he had worked in wineries and vineyards before, up until that point he had never really been given any responsibility or allowed to make decisions. In a subsequent internship, he found himself under the mentorship of Bordeaux wine legend, Denis Dubourdieu (Ch. Doisy-Daëne), who turned to Silacci and said, “You have taken all the classes, so make the wine!” Dubourdieu instantly put his faith in Silacci’s abilities, which was hugely inspiring for the young winemaker.   It wasn’t long before Silacci was drawn back to the US and Napa where things were really starting to develop; first working at Beaulieu Vineyard, then at Stag’s Leap Wine Cellars. In the 1990s, Silacci witnessed a lot of change in the valley as phylloxera ravaged the region. “First, there was denial, then there was anger and finally we learnt from it,” he says. “If Napa was to survive as a wine-producing region, people had to work together to solve its problems.” The group effort that followed – experimenting with rootstocks and clones, and most importantly sharing their discoveries, seeking the right combination to sustain the region’s future –was inspirational. This was a problem that couldn’t be solved by the individual.  When the opportunity arose to join Opus One in 2001, Silacci leapt at the opportunity – but it wasn’t an easy start. Silacci was used to a hands-on role, working in the vineyard and winery. At Beaulieu Vineyard, he oversaw 28,000 acres, five vineyard management teams, five winemakers and 85 grape growers. Under Tchelistcheff and Winiarski, he had learnt how to read the valley – noting how fruit in the same vineyard changed where the soils did, that different parts of the same vineyard would ripen at different times. It was this understanding of Napa’s terroir that he wanted to bring to Opus. His first week, however, consisted of back-to-back office meetings. “Don’t ever schedule a week for me like that again,” he told his PA.  Silacci arrived at Opus One with his eyes wide open and mouth shut, wanting to observe how the operation was working – and where potential problems lay. While everyone knew what they were doing, h felt that a sense of collective responsibility – and the passion that comes with that sense of ownership – was missing.  In such a big organisation – operating as part of the Mondavi stable in Napa – he wasn’t going to be able to change things overnight, but Silacci didn’t waste any time in the vineyard. When he arrived, the viticultural teams worked across the brands. One week they would be pruning To Kalon (Napa’s prized vineyard, of which 100 acres goes into Opus One), and the next week they would be pruning vines for a $25 bottle of Chardonnay in Carneros. For Silacci, this didn’t make any sense, and the vines needed to be treated differently. He knew from experience that a permanent viticultural team taking ownership of the vines they cared for would improve the quality of the fruit. Within four weeks, he had two teams dedicated solely to the Opus One vineyards. Changing attitudes in the cellar was not so easy. “It was very difficult to integrate with the team,” admits Silacci. “They were very set in their ways and were not really interested in doing things differently.” Silacci identified that it wasn’t what they were doing, but their attitude towards doing it that he felt was wrong. “The cellar crew only did one thing at a time,” says Silacci. “That was their reason for doing something well.” But Silacci, true to form, took a different approach. “Any living thing, human or plant, has to have a sense of urgency,” he says. “If you give people too little work to do and vines too much water, they develop a sense of leisure, they get distracted and miss opportunities… But if you give people too much to do and the plant too little water, they develop a sense of anxiety. They are stressed, which is not healthy and they make mistakes.” Silacci’s goal was to find a middle path. More than that, like his mentors before him, he wanted them to take responsibility in what they did and, with that, instil more passion in the team. “I knew they understood the mechanisms of winemaking,” says Silacci, “but I didn’t know if they felt it. I don’t know if they are passionate about what they do.” He decided to split the cellar team into two teams of three. Each was given 22 rows of the top vineyard. “Between them they had to make all the decisions on pruning, suckering, fruit drop, harvest decisions – everything.” Each team would then make around 1,000 bottles each at the end of the year.  Projects like this, Silacci believes, not only gave his team a sense of autonomy and responsibility, but it helped build passion for what they were doing. “You create a sense of urgency, and you get back a sense of focus,” he says.  Silacci believes that a consensus among the team is key – but only if everyone is equally invested in the final product. Today he has a permanent team of five, who together create the final blend. They are also joined at the later stages by Mouton’s Jean-Emmanuel Danjoy and another of the Mondavi team. Typically, they produce over 50 blends each year before making their decision. And it’s the most important decision of the year. “Blending really is at the heart of Opus One,” Silacci says.  The idea is that everyone in the team has a voice – and everyone is listened to equally. He feels it took 10-15 years for the team to completely understand this consensus-driven approach.  While the theory may not always work, admits Silacci (“Ultimately it is my head on the chopping block”), his aim is to empower his team with responsibility. Like his mentors before him, he loves to give them autonomy in their role, allowing them to figure it out on their own – meaning they’re more invested in what they do. “We all have a blind spot,” he says, “But if you have people standing with you, looking out, they mask your and other people’s weaknesses and you build a circle of people each with their strengths,” he says. For Silacci, the collective – like a blend – is stronger than the individual. “The very best teams,” he says in a calming, zen-like tone, “are not circles, but spheres.” And that perfect sphere is what he continues to strive for at Opus. Find out more about and browse all listings from Opus One or read more Editorial 

Under the tenure of winemaker Michael Silacci Opus One has gone from strength to strength. But it’s not him or owners Mouton-Rothschild and Mondavi that are at the heart of its success; for Silacci, it’s all down to the power of collective responsibility

After 21 years at cult Napa estate Opus One, Michael Silacci believes much of his success lies in collective responsibility. Here’s why.

Opus One's winemaker on collective responsibility

Opus One’s Michael Silacci on the power of collective responsibility

What defines a fine wine? For many, it is a bottle’s ability to improve with age. A wine’s longevity is even seen, by some, as the ultimate measure of its quality. It’s true that aged wine can be some of the most memorable – capturing an essence of time that’s impossible to recreate. The ageing process can be central to a wine’s (or, for that matter, whisky’s) progression to another, unparalleled level of complexity. Yet how a wine ages remains something of a mystery to both winemakers and collectors. There is still a great deal of conjecture about how a wine will develop, why it does so, and whether it is even worth the wait. Unlike whisky, wine is much less stable on its journey into maturity. As Christian Moueix puts it, “Wine is a complex matrix of thousands of compounds suspended in a delicate equilibrium.” This equilibrium is fragile, age a potential threat and a wine’s trajectory therefore incredibly difficult to predict. There was a time when wine drinkers dismissed the New World. Today, fortunately, that’s not the case – and it’s rightfully acknowledged for producing fine wine. However, some snobbery remains. Drinkers tend – beyond a handful of the very top names – to drink New World wines much younger than their Old World counterparts. Ask any oenophile about the oldest bottle they’ve drunk, and we’d put money on it being from Europe – Bordeaux, Burgundy, the Mosel, Alsace or Douro. Of course, one element is undoubtedly availability. The traditions of drinking Bordeaux (even from modest châteaux), for example, at full maturity – 20 or 30 years down the line – is not uncommon, and these wines continue to be regularly traded among collectors. New World wines at full maturity are much more of a rarity. Many of the younger regions in the New World still haven’t had the chance to build up such an extensive back catalogue, yet the wines have everything they need to comfortably age as long as their counterparts. Burgundy maestro Jean-Marie Fourrier, who now also manages Mornington Peninsula winery Bass Phillip in Australia, is an advocate for New World wines’ ageability, with Bass Phillip’s Pinot Noirs a case in point. But he believes the reputation for a shorter drinking window is partly due to practical, economic necessity. “When you start making wine at a young winery, you need a quick turn over, a quick return on investment,” he says. Therefore, producers craft wines that can be drunk younger. It is only once a winery, or a region, is established that winemakers can afford to have a longer-term approach and deliberately make wines to age or hold back stock. In this respect, the established classical regions of Europe have hundreds of years of history to fall back on. Napa has long since proved its mettle producing wines that can age. But just what it is that allows a wine to improve with age has been a hot topic of conversation in the region for decades. Tor Kenward – of Tor Wines – recollects a conversation between himself, Robert Mondavi and another legendary Napa winemaker, André Tchelistcheff over 40 years ago. Sitting around a table, they were trying to determine the key factor that makes great wine age. Was it the winemaking? The quality or concentration of the grapes? Or was it all about harvesting at the right time? Tchelistcheff – who trained in Europe and, by this time, had been making wine in Napa for over four decades – contemplated the suggestions. High acid levels (low pH), high concentration of tannins and oxygen management were all tabled and, while he accepted all were important, for him, a great wine for ageing needed “flesh”. By this, recalls Kenward, he meant the grapes needed a certain type of ripeness – not over, not under, but perfect physiological ripeness. Forty years on and Kenward still believes Tchelistcheff was right, yet it is an aspect often forgotten in the discussion of a wine’s ability to age. Finding this perfect window of physiological ripeness can be a challenge in warmer regions, and a warming climate, and therefore remains an obstacle for much of the New World. These regions tend to be warmer than historically marginal wine-growing regions of Europe, and therefore grapes can ripen quickly, but with this fast ripening comes a risk of reaching sugar ripeness before the skins have had the necessary time to reach maturity. Christian Moueix is one of the world’s most experienced winemakers, having managed both Pétrus, Trotanoy and other top Pomerol estates, as well as Napa’s Dominus. He agrees with Tchelistcheff that picking the grapes at optimum ripeness is a hugely important factor when producing wines that can age. “If harvested too early, grapes have a smaller quantity of extractible phenolic compounds and […] may not have formed the longer chains and bonds that make them stable.” On the other hand, when overripe, “These phenolic compounds are degraded through oxidation.” For Moueix, the temperate climates in Europe are ideal for “developing and maintaining a high ratio of phenolic compounds”, whereas in many New World regions, there is a propensity for excessive heat, over-ripeness and therefore oxidative winemaking which he feels is, “likely to contribute to wines that age prematurely”. In warmer climates, Moueix believes, “extreme heat, enzymatic and physiochemical reactions degrade anthocyanins within the berry, lowering the concentration of total phenolic compounds and subsequently, the wine’s capacity to resist oxidation, leading to premature aging”. For Moueix, then, a temperate climate (whether in the New or Old World) is key to producing wines that can age. It is, he believes, the reason why Dominus ages so well. This corner of the southern Napa Valley is relatively mild, thanks to the San Pablo Bay’s cooling influence. This slows sugar accumulation and gives the berries time for the tannins to ripen. They also don’t use irrigation, putting the vines under more stress, producing small berries with high phenolic concentration. Like Moueix and Tchelistcheff, Fourrier believes picking dates and high concentration of tannins is important – but he ties this to vine age, rather than the microclimate. “As vines get older, the size of the berries gets smaller,” explains Fourrier. It is this that gives a high skin-to-juice ratio and natural concentration. For Fourrier, this natural concentration is what gives ageing potential – rather than any actions in the winery. All are in agreement that the ageing ability of red wines comes down to the quality of the berries, rich in anthocyanins (ideally then from older vines) and picked at the right time in order to extract them at their optimal level of ripeness. But these factors affect Old World producers as much as those in the New World. Paul Roberts – Master Sommelier and COO of Colgin in Napa – makes a compelling point that New World regions in the right climate regularly produce higher concentrations of tannins than the Old World’s cooler climates. In fact, they have to pay close attention to extract less tannin during the winemaking, not more, to maintain the balance in the wine for it to age. Colgin’s mountainside IX Estate vineyard on Pritchard Hill produces berries that are, on average, 30% smaller than those grown in Pauillac. Often, Roberts notes, Napa Cabernets have higher skin-to-juice ratios than the Bordeaux First Growths – and therefore much more “anti-oxidant” tannins than their Bordeaux counterparts. According to Moueix’s belief that it is the concentration of tannins and phenolics found in the skins that protects wine from oxidation and degradation, this should mean that top Napa wines have the potential to outlive Bordeaux wines at the top level. Andy Smith, winemaker at the Russian River’s DuMOL estate, makes some of the region’s top Pinot Noir and, like Colgin, has no shortage of tannins in his grapes. Compared to Burgundy, his Pinot Noir has smaller berries, “with uncommonly thick skins that create huge natural power if you choose to extract fully”. For Smith, “this leads to a potential for powerful, deep wines with high structure for aging, and high natural acidity”. Like Colgin, it is an overabundance of tannins that is more of a concern at DuMOL. “The key is balancing the extraction,” says Smith, “to take the positive and leave behind the excessive elements from the skins.” For leading Chilean winemaker Francisco Baettig (Errazuriz, Seña and Chadwick) it is an excess of tannin, and an excess of extraction in some more ambitious wines, in the New World that has tainted its reputation for producing wines with long ageing ability. “There was an obsession for creating monster wines, with lots of extraction, trying to extract as much tannin as possible,” Baettig notes, looking back 10-15 years. Many producers in Bordeaux were doing the same at the time, but the different climates – the same elements highlighted by Roberts and Moueix for leading to higher concentrations of tannin – influence the tannin and extraction. “In Chile with higher intensity and higher levels of ripeness, the extraction happens much quicker,” he explains. This resulted in over-extraction – “wines that were rough, too tannic and did not age well”. For New World producers, better tannin management is clearly key to producing wines that can age. Producers like Tor, Colgin, DuMOL and Baettig all believe gentle extraction of tannin and reducing the wines’ contact with oxygen is fundamental for ageing. In cooler, less sunny European climates, it could be argued that in the past, due to the less easily extracted tannins, producers could get a way with being a lot less precise in their tannin management. With this in mind, Baettig notes the Old World might need to learn from the New World, how best to adapt their winemaking to the effects of climate change – and, in many ways, they already are. Vignerons are already looking back at sunny vintages such as 2005 and 2010 (with high levels of extractable tannins) and questioned some producers’ apparent over-extraction of tannins, adapting accordingly in years like 2019 and ’20. The transformation of grapes into wine is magical; the secondary transformation that can take place with maturity is possibly even more extraordinary. However, a wine with so much promise can disappoint if left too long – a frail, bitter example of its former self. It is no surprise that many drinkers choose to avoid such risks and savour wines in their more muscular youth. There is a cultural change too. DuMOL’s Smith notes that the average US consumer is not particularly interested in ageing their Pinot Noir and questions whether ageing wine is an outdated notion. In a society that favours immediate gratification, modern consumers are impatient and few have cellars in their homes. And the savoury flavours that come with maturity aren’t to everyone’s tastes. “There’s a big difference between positive evolution, plateau-ing and the gradual downward slope of oxidation,” he says. “All wine ultimately wants to become vinegar!” Because of this, some winemakers are deliberately pulling back from making wines that peak at 20 years, instead looking to produce wines that will appeal in youth and peak closer to 10 years, since that’s what their customers want. Even the most tannic red wines from the more traditional regions are these days much more approachable in their youth, something that just wasn’t possible just a few years ago (as noted by Lisa Perrotti-Brown MW). Making fine wine is an art – and especially so when it comes to building a wine for the future. Choosing the perfect moment to pick in the given climate, as well as the right style and level of extraction in the winery will determine a wine’s ageability – but only if the underlying quality of fruit is sufficiently high. With better winemaking equipment, we no longer need to wait for tannins to soften to enjoy even the best Bordeaux or Napa. Does that mean you can’t age it for a half-century? Or that it won’t improve over that period? Absolutely not. Fine wine – from both the Old World and the New – arguably has a longer drinking window than ever before – giving us ever more chances to savour it. Read more Editorial

What allows a wine to last 10, 20 or 50 years? And why is there sometimes a perception that the New World’s wines can’t do this? Gavin Smith talks to Tor Kenward, Christian Moueix, Colgin’s Paul Roberts MS and more about the key to making fine wine for the cellar – and if it’s relevant today

We talk to Tor Kenward, Christian Moueix, Colgin’s Paul Roberts MS and more about the key to making fine wine for the cellar – and if it’s relevant today

How to make wine for the ages

Colin Scott should be one year into his retirement. After 47 years at Chivas Brothers, 31 of which were spent as the Master Blender, he should be enjoying a well-earned rest. Instead, the ebullient Scott is lighting up the screens of the FINE+RARE team as he talks about a certain 50-year-old blended whisky he has created for remarkable spirits curators The Last Drop Distillers.   “It’s just fantastic to come to The Last Drop and find these nuggets of gold and all these wonderful casks of very precious liquid that have phenomenal complexity and flavour,” Scott says with unabashed glee.   Despite his near-50 years in the whisky industry, this is only the second 50-year-old blend Scott has had a hand in producing. Well-aged whisky was, until relatively recently, only a small part of Chivas’ business.   “By the time we’d filled a cask and it had matured to 12 years, most of that went into Chivas 12. Once it reached 21 years old, we put it all into Royal Salute. So, there was very little maturing. But of course, as time goes on, the stocks have been held back and the super-premium part of the inventory has grown.”   Scott joined Chivas Brothers in 1973 and became their fifth Master Blender in 1989. But he would have to wait a further 13 years before a 50-year-old whisky project presented itself. The result was The Royal Salute 50 Year Old, released in 2002 – a dual commemorative bottling for Queen Elizabeth II’s coronation and Royal Salute’s 50th anniversary.   Today he’s talking about his latest 50-year-old creation, The Last Drop’s 22nd release and first in-house whisky: a 50-year-old blended Scotch. After a whole three months as a man of leisure, the “retiree” joined the Sazerac-owned company as their first Master Blender in autumn 2020.   “When I joined in September last year, it was really the beginning of finding out what all these nuggets were within the inventory. Sorting through the very special and remarkable casks and finding out a little bit about what they were and what they did and how we could bring them together.”  Scott explains that everything in the blend started out as either a single malt or a single grain whisky, distilled at different distilleries around Scotland over 50 years ago. “At various stages along the way, blends have been made but then of course the balance has been put into cask and stored away for further maturation. So, what we have is a mixture of some of these malts and grains, all with their own unique characters and flavours, that we bring together at the last moment.”   Tasting the blended whisky alongside Scott is like being escorted on a journey back through time – to an age when a lot of distilleries were doing their own maltings and adding peat to the kiln to get a little smoky flavour.   “To me, blending is all about taking the flavours and then balancing them,” he says. “What you have here on the nose is a tsunami of flavour. But, when you taste it, nothing actually lingers and stays on top.”   Scott encourages tasters to add water to remove the aggression of the alcohol and maximise the release of the aromas and characters. When he is tasting more than 50 samples around a nosing table, this trick is vital to reduce all the whiskies to 20% alcohol and allow the flavours to present themselves.   In the case of The Last Drop 50 Year Old, its mellowness, richness and depth means you don’t necessarily need to cut the 48% dram.    “When we blend, we don’t add something, sniff it and then add a bit more of that. What we do is actually write down the whole formula in its entirety. We then pilot blend it. When we add the last addition, it will change the balance of everything you have already. So, you don’t know the final answer until you add that last part of the formula. And then once you’ve got them all together you can evaluate what you have actually created.”  For Scott, the act of blending and evaluating is an entirely personal thing. “All whisky – grains, blends – are fantastic. They are all different and they all bring their own song to the party. The only reason one is better than other is your own personal experience.”   Scott, for instance, isn’t “a fan” of the smoky Islays. “I don’t think they’re bad,” he adds. “It’s all about personal taste. There’s not a bad whisky in the world.”  The Master Blender talks at length about whiskies having different personality traits that require nurturing and, ultimately, respect.   “If you take a single malt as distillate at birth – that has a flavour package. It’s like you when you’re born – you have a character. If you put that new distillate into a cask, over the years this distillate will react with the oak in the cask and take influences and nuances which will then promote other flavours in the new spirit.  “So as time goes on, the volume actually goes down, the strength goes down, but that flavour package actually intensifies and intensifies and multiplies and multiplies.”   When it comes to age, there is some debate about how old you can go. For Scott, the 50-year-old is undoubtedly a rare beast, but he doesn’t see any reason why you can’t go older and rarer if the whisky has been sufficiently nurtured.   “If the angels didn’t interfere, in a quality cask, you could take it to 60-, 70-, 80 years,” he says. “If you’ve got quality casks, you don’t get that wood influence. You get a little touch of the oak but what you have at the end of the day is this small amount of highly intense, complex flavoured whisky that started as the new distillate and just grew with all the different influences from the oak and the cask whether it is Sherry or Bourbon.”  While there have been scientific advancements during Scott’s career, he says there are still a great many unknowns about the maturation and flavour process, and you get the impression this only adds to the allure for him.   “Because it’s nature, we don’t actually know what’s going on,” he adds. “It’s massively complex and the technical people still don’t know the number of components in Scotch whisky. I think they’re up to about 800 now. When I started there were about 200.”   Regardless, you sense Scott will continue to do what he does best: respect, nurture and blend remarkable liquids – retirement be damned.   Browse all Last Drop listings or read more Editorial 

As he approaches his 50th year in the industry, Colin Scott tells Holly Motion about the allure of well-aged whisky and plundering The Last Drop’s remarkable spirits inventory 

The Last Drop Distiller's Colin Scott on the allure of well-aged whisky and his new role plundering the independent bottler's archives.

Bewitching blended whisky

The bewitching blend

2020 Calon Ségur, Saint-Estèphe This Calon Ségur has a lovely interplay of earthy, mineral notes with a touch of smokiness, fresh leather and concentrated berry fruit aromas, all beautifully compacted on a focused nose. The wine starts surprisingly supple with the soft, ripe yet detailed tannins slowly building on the palate. This wine takes you by surprise, becoming more and more focused on the palate. There is a lovely pristine quality to the fruit, an equilibrium and tension to the wine. Alongside the fruit are sweeter dark chocolate notes and green herbal tones providing a complex flavour spectrum on the mid-palate. It finishes with great energy, verve and vibrant acidity. The more clay-like Saint Estèphe minerality really comes through on the finish. Excellent. 2020 Ch. Pichon Comtesse, Pauillac There are few wines in 2020 that have such a distinct Pauillac character than the Pichon Comtesse, bristling with pure pencil-lead graphite minerality, backed by earthy notes and toasted spices. There is a lovely suppleness to the wine – very juicy, fresh and ripe but with no hint of over-ripeness, and an underlying mouth-watering salinity. This is a complex palate with plenty going on – baked black fruit, redcurrant, liquorice and a greener, vinous element too. With over 72% Cabernet in the blend (65% Cabernet Sauvignon and 7% Cabernet Franc), it is no surprise the wine has amazing focus, freshness and direction on the palate. The fruit remains crisp and fresh throughout, the cassis beautifully entwined with the graphite notes, all focusing right to the back of the palate. The balance and poise is exceptional, giving real energy to the fantail finish. 2020 Ch. Léoville Barton, Saint-Julien The 2020 Ch. Léoville Barton takes a while to emerge from the glass, but when it does it is boysenberry bright, shifting to pure dark blackcurrant, cedar and soft spice, with an almost orange zest freshness and a scented, floral lift. On the palate, this is beautiful – powerful and fine textured. There’s a vibrancy to the acidity, bringing precision and clarity to the fruit expression, while the powdery tannins have an almost parma violet feel to them. Fresh and lush, there’s a brightness to the blackcurrant and redcurrant fruit that carries to the long finish. Elegant, pure, with much more to come. 2020 Ch. Margaux, Margaux While closed at first, the aromatics of the 2020 Ch. Margaux develops beautifully with air, releasing a complex array of peony, rose floral and menthol aromas with warmer toasted spice notes. There is a lovely concentration and density to the palate both in terms of fruit concentration and tannin detail. The pristine red and black fruit is so fresh and juicy but compacted by the tannins, focusing the wine right down the centre of the palate, providing extraordinary depth. High quality oak tones – cedar and spice – bite at the fruit, creating an
amazing layering effect of spice, fruit and tannin. The handling of the oak is excellent. While very present, it keeps the wine focused and manages the sheer abundance of tannins on the mid-palate. This is a wine built to last.  2020 Ch. les Carmes Haut-Brion, Pessac-Léognan This 2020 Ch. les Carmes Haut-Brion starts a little reticent, a dark brooding nose that slowly opens to reveal a lovely balancing concoction of aromas across the fruit and floral spectrum. Fresh blackcurrant chimes with greener herbal notes giving lift to the nose and an overwhelming sense of freshness. The tannins are concentrated, detailed, fully resolved and – more than anything – they have an energy that excites the palate. The clarity of fruit is exceptional, it almost feels like you are
crunching on fresh berries – it is pristine. This is beautifully balanced, awash with freshness, while the lovely Cabernet Franc herbal notes add florality and lift to the palate. 2020 Ch. Smith Haut Lafitte, Pessac-Léognan The 2020 Ch. Smith Haut Lafitte is plump, dark and a little brooding on the nose, with a mineral note and something a little animal. On the palate, it’s similarly dark-fruited but with savoury depths to complement the quite plush blackberry and black plum fruit. It’s fulsome and round – but with a saline freshness. There is real purity and concentration to the waves of dark, fresh fruit – ripe and plump blackberries and dark plum. The tannins are really ripe and beautifully melded, yet present, providing the necessary structure. This is delicious, and quite moreish with that salinity complementing the otherwise dark-fruited profile. 2020 Ch. Angélus, Saint-Emilion Angélus has produced a profound wine in 2020, continuing a clear move that we’ve seen over the last four years or so – away from power and towards elegance. The team rightly says the 2020 has a “sublimity” to it. It also showcases the finer detail of the Right Bank wines this year – a beautiful, delicate, floral, peony scent, matched by wonderfully dark, smoky, toasted spice, fruitier baked berries and lighter, buttery, pastry notes. The wine has fantastic texture, with detailed but perfectly ripe tannins that ripple across the palate, coated in dense, concentrated forest fruit of fantastic purity. The Cabernet Franc brings mouth-watering freshness and a minerality too. The assemblage is 60% Merlot, 40% Cabernet Franc with part of the Cabernet aged in 30hl foudre (the latter to reduce the Cabernet Franc’s exposure to oxygen).This is plush but beautifully elegant Angélus. A magical wine. 2020 Ch. Canon, Saint-Emilion An abundance of fresh fruit aromas along with saline, mineral and dry spice notes fill the nose. The fruit is darker in character to its neighbouring Ch. Berliquet (tasted alongside), but still straddles the red and black fruit spectrum nicely. The fruit is fantastically fresh. There is a wonderful equilibrium to the wine – while the fruit is pristine, there is no shortage of concentration and mid-palate roundness. The tannins are unbelievably fine, bringing an effortless, structural detail and depth to the wine, firming up on the finish, indicating there’s plenty more to give. The finish is extraordinarily long. This is exceptional, even for Ch. Canon. 2020 Ch. Clinet, Pomerol  The 2020 Ch. Clinet is an immense and stunning wine. The nose is rich with milk chocolate and dried fruit – but also something fresh and crunchy about it. There’s an exoticism to the wine’s expressive perfume – almost shisha-like. On the palate, this is thick, full, round and intense – a weighty
wine with a cocoa richness to it, but an incredible purity of dark berry and plummy fruit. There’s plenty of juicy acidity to offset the wine’s richness and mass of super-ripe tannins. Tight, dense and intense, this is a wine that needs time to fully unfurl. 2020 Enclos Tourmaline, Pomerol The Enclos Tourmaline is opaque in colour with a brooding, compacted nose. It has lovely high-quality, toasted oak notes of dry spice interspersed with iron-esque mineral tones and subtle floral, violet aromas. Ripe, pristine plum and blueberry fruit dominate the palate. The tannins are very detailed and fine. The palate is dense, rich and layered, but not over the
top, with lovely restraint and a distinct textural finesse. What’s more, there’s a vibrant acidic energy running straight down the middle of the palate, adding real excitement. The wine is backed by touch of firmness and good mineral underpinning. This is very well-balanced. Excellent. Explore Bordeaux or read more Editorial

Bordeaux produced some stunning wines in 2020. While we haven’t yet tasted everything – notably Chx Mouton and Lafite Rothschild – here’s our pick of our 10 favourites so far, wines that have really shone in this remarkable vintage

Explore our 10 favourite Bordeaux 2020 wines we have tasted so far, featuring Calon Ségur, Ch. Margaux, Clinet and Canon 