THE VERDICT

This line-up of top-tier Chianti Classico from 2015 and 2016 impressed our judges, who praised the freshness and accessbility of the wines despite the warm vintages. Amy Wislocki reports

‘What made 2016 stand out was the vivacity and freshness of the wines’

Andrew Jefford

Two very warm vintages, and an expectation that 2016 would be the better performer of the two. And indeed, the results seem to bear this out. All four Outstanding wines are from 2016, and the lion’s share of the Highly Recommended wines. ‘It’s better, and more consistent,’ observed Aldo Fiordelli, with Monty Waldin agreeing: ‘2016 is a better vintage than 2015 for two reasons. Firstly, because it was actually a better vintage. And secondly, because people learned from the mistakes they had made in 2015 and corrected them in 2016. So it’s a double-whammy of goodness, if you like!’

Andrew Jefford urged wine drinkers not to overlook 2015 though. ‘There was an awful lot to like in this enormous tasting, and the many high scores are testament to the high level of ambition and achievement in these two vintages. And both of them are very good vintages, in different ways. In the end 2016 probably is ahead, but not by a huge margin. What made 2016 stand out was the gorgeous freshness and vivacity of the wines – and we know that freshness is part of the zeitgeist nowadays.’

That freshness can also be affected by the oak ageing, and this still seems to be an issue. ‘Many producers are showing a less heavy-handed approach, but some still seem to be from another era – all about power and concentration, and dark fruits,’ said Fiordelli. ‘I think Bordeaux has moved away from oak more swiftly and more comprehensively than Tuscany,’ Jefford interjected. ‘Quite often in this tasting, the oak was a hurdle to climb over, which it shouldn’t be. I don’t think any wine needs exaggerated oak in its youth in order to have a successful maturity. I’d like to see less use of new oak, and more use of older oak, earthenware, concrete.’ ‘I think the trend now is towards larger oak,’ said Waldin. ‘But it will take a while to filter through. If producers have paid £500 for a barrel, they need to use it.’

The tasters also discussed the shift from using international varieties in the blend. ‘There’s an increase in the number of 100%-Sangiovese wines, and a move away from using international grapes,’ said Fiordelli.

Waldin agreed with Fiordelli that native grapes such as Canaiolo and Colorino work much better. ‘I don’t get the theory that Merlot softens the Sangiovese in a Chianti Classico –

I find often it’s very weedy, and it doesn’t work for me, even in small percentages. The ancillary grape varieties that are historic in Chianti Classico are much better choices, and work seamlessly. They are far better adapted to the local area.’ Jefford commented on how just 10% or 15% of Merlot or Cabernet in the blend can completely change the expression of the wine. ‘I’m not against those blends per se,’ he commented, ‘but you do lose the sense of place. Tuscany is probably the best place for Merlot outside Right Bank Bordeaux, but I’d favour keeping it separate from Sangiovese, which is such a fantastic variety – so protean – that it doesn’t need the Merlot.’

Gran Selezione isn’t a step up from Riserva, agreed the tasters. ‘The only substantive difference is that one of them has to come from estate-grown grapes,’ explained Waldin. ‘Both were outstanding categories, with highs and lows,’ added Jefford. And more highs than lows, judging by the scores. ‘The good examples were beautiful – no angularity, balletic, with depth and definition,’ enthused Waldin. ‘Really drinkable now, and with a long drinking window.’