Three Things We Learned about Sicilian Wine

Sue and I recently returned from a trip to Sicily. We had a great time and learned a lot about the region and its history, the people and their culture, and, of course, the wines. Here are a couple of things we want to share with you about our experience.

Sicily vs Italy

Sicily is part of Italy (it is Italy’s largest region), but Sicilians aren’t Italians. They are Sicilians. You can ask anyone and you’ll get the same answer. The history and culture are different. Even the language is different. Sicilian isn’t an Italian dialect; it is a different language. And the wines are different, too. There are commonalities, to be sure, but the differences are impossible to ignore.

Some members of our tour group were pretty familiar with Italian grape varieties (Pinot Grigio, Sangiovese) and regions (Chianti, Barolo), but they found that didn’t help them navigate the Sicilian wine scene, which features grape varieties such as Catarratto, Zibibbo, Grillo, Inzolia, Nero d’Avola, Nerello Mascalese, Frapatto, and regional designations such as Etna DOC and Cerasuolo di Vittoria DOCG.

The differences between Italian and Sicilian wines were initially a barrier, but soon evolved into an invitation to experiment and discover. One important factor is the fact that Sicilian wines, like their Italian cousins, are what we call culinary wines, best enjoyed with food and not on their own (the ubiquitous Aperol spritz is good for that).

(Note: I use the term “Italian wine” here to designate origin, but nothing more. As I wrote in “Around the World in Eighty Wines,” there is no such thing as Italian wines. There are only the regional wines of Italy.)

Resurrecting Marsala

One of our goals for this trip was to get a better understanding of Marsala, which was once Sicily’s signature wine. Marsala is a Sicilian original, but it owed its popularity to English merchants who fortified it for ocean transport stability and then more or less industrialized its production to compete with Sherry, Port, and Madeira on export markets. At one point Sicily found its wine industry almost completely shaped by exports, with strong white wine made in the western part of the island for Marsala production and strong red “cutting wine” made in the east to blend with lighter Italian and maybe even French wines to bring them up to snuff.

Marsala seems to be used in cooking these days more than as a beverage. I have never understood what the fuss was about back in the day. Maybe we’ve only tasted industrial Marsala? This was a chance to find out.

Marco de Bartoli is known for its commitment to authentic Marsala, but our schedule did not permit a winery visit, so we asked Giuseppina de Bartoli for advice. She sent us to the Versi di Rosso wine bar in Trapani, advising that …

We produce only one type of Marsala, Marsala Oro Superiore Riserva , and at the moment there are 3 different vintages ( 2020, 2009 or 1988). I recommend our Vecchio Samperi Perpetuo, that isn’t a Marsala DOC, but the prebritish wine , the historical wine of Marsala area.

Sylvia, our guide and somm-in-training at Versi di Rosso, was very enthusiastic about our tasting request. Vecchio Samperi Perpetuo was more nuanced and complex than the other Marsala wines we tasted and you could see why the British merchants would be attracted to them. It was lighter in weight and body than we expected and very smooth. The “perpetuo” part of the name derives from the old practice of moving and mixing the wine from barrel to barrel over the years, much like a Sherry solera, but of course not like Sherry in other ways. It doesn’t fit the rules of “modern” Marsala, of course, and so doesn’t wear the DOC label. We tasted the Marco de Bartoli Marsala Oro 2009 at Enoteca Solaria in Siracusa and found it a richer variation on the same theme.

OG Marsala is out there and worth seeking out, but you will have to make some effort to find it. We are glad Marco de Bartoli and other producers keep the flame alive.

Sicilian Discoveries

We discovered a wine called Cerasuolo di Abruzzo when we visited that region a few years ago and loved it right away. I guess we assumed that Sicily’s Cerasuolo di Vittoria (from the Vittori region in the south of the island) would be a crisp pink wine like its Abruzzo namesake. Wrong. It is a deep red wine with great acidity made by a blend of Nero d’Avola, Sicily’s most-planted red grape, and Frappato. Completely different, but we fell in love with it after tasting a sample from the COS Winery.

Sweet wines are another thing that Sicilian producers do very well. Donnafugata Ben Ryé is one of Italy’s most celebrated sweet wines — a powerful, aromatic Passito di Pantelleria made from sun‑dried Zibibbo grapes. We enjoyed this wine in both the U.S. and in Italy, but we dove deeper into this category until we got to Sicily.

Our Versi di Rosso guide Sylvia was excited to serve us her favorite Marco de Bartoli wine, Bukkurum Sole d’Agosto, another Passito de Pantelleria. We enjoyed other wonderfully balanced sweet wines at meal’s end, including the Gulino Jaraya Siracusa Passito DOC shown here.

We had hoped to try some Malvasia di Salina and the Malvasia di Salina Passito, but, alas, it just didn’t work out.

We learned a lot on this trip. This column just scratches the surface, but we hope it inspires you to visit (or re-visit) Sicily.

Wine & Tourism in Sicily: Benanti Winery Shows the Way

May 12, 2026 By Mike Veseth in Italian wine, wine, wine tourism 3 Comments

Sue and I have just returned from a trip to Sicily. We went as tourists — Sicily is one of the few regions of Italy we haven’t visited until now — but you can be sure that wine was always on our minds.

Sicily’s Tourism Boom

We were not alone. Tourism is booming in Sicily, with international visits growing even faster than on the mainland, according to official statistics. As anecdotal evidence, I offer this: The Rick Steves “Best of Sicily” tour we enjoyed is essentially sold out for the rest of the year. Add Sicily to the list of “must-visit” Italian destinations.

The Sicilian wine industry has taken note of this trend and is working both to attract wine tourists to Sicilian shores and to introduce traditional tourists to the pleasures of wines. A recent article in Il Sole 24 Ore titled “Sicilian wine, the future lies in targeted exports and wine tourism” explains the strategy.

Sicilian wine is preparing for the coming years with a double objective: defending exports in a more fragile international scenario and transforming wine tourism into a stable lever of growth. This is the picture that emerges from the Nomisma Wine Monitor research for UniCredit, presented today in Palermo together with the 2026 edition of Sicilia en Primeur, scheduled in the capital from 11 to 15 May.

Sicilian wine export numbers have held up better than those for Italian wines overall, according to the study, as Sicilian producers have been better able to take advantage of shifting consumer preferences from red wines to white wines. But perhaps the bigger story is tourism in general and wine tourism in particular.

In this strategy, wine tourism becomes a decisive element. For Italian wineries, it is already worth 3.1 billion euros and generates an average expenditure of 123 euros for the purchase of wine in the cellar, 41 euros for tasting, and 145 euros for an overnight stay. In Sicily, the phenomenon has an even more international profile: the clientele is mainly made up of foreigners, particularly Americans, Germans, and British. And there is one figure that weighs in: in the Etna municipalities linked to the Etna Doc specification, tourist arrivals grew by 17.4% between 2019 and 2024, against a regional average of 12.4%.

Even more significant is the figure for Americans. Among US wine tourists who want to experience Italy in the next two or three years, 26% indicate Tuscany and 16% Sicily. The island is already the second destination evoked, and this places it in a favourable position in one of the most important markets for regional wine.

Although cellar door sales to visitors are obviously important, it is important to remember that wine tourism is an opportunity to connect wine to history, culture, and cuisine and to establish personal connections. Sue and I have seen this effect in South Africa, for example, and especially in Portugal, where the recent growth of tourism has established an identity that embraces Portuguese wine.

The game will shift here: less dependence on trade flows alone, more ability to retain value in the territories. If Sicily knows how to transform its reputational advantage into experiences consistent with the identity of the wineries and capable of speaking to an international audience, it will be able to strengthen export, brand and marginality together.

Case Study: Benanti Shows the Way

Our tour group’s scheduled visit to the Benanti Winery in the Etna zone provided an excellent example of how the wine tourism strategy can work.

The Benanti Winery is noteworthy in several respects. Giuseppe Benanti was one of the leaders in the Etna quality wine push starting in 1988. The winery is known for its commitment to native grape varieties, its focus on single-vineyard wines, and especially for its signature wine, Pietra Marina Etna Bianco Superiore. Joe Bastianich highlighted this 100 percent Carricante wine as one of Italy’s finest wines in his 2010 book Grandi Vini. New York Times wine critic Eric Asimov listed it as one of his most memorable wines of 2025.

Brothers Antonio and Salvino Benanti have taken their father’s vision to the next level, making the business side of the winery as strong and intentional as the production side, raising quality all around, and fostering the growth and reputation of both the Benanti brand and of Etna DOC wines generally.

Wine tourism is an integral part of Benanti’s plan. The visitor experience is carefully designed, taking place at a hospitality facility (not the working winery) and focusing on history, place (Etna and the vineyards), family, and culture. The wines are tasted with local cuisine (of course!) in a beautiful setting. It is a first-class experience carefully designed and executed with intent to create a favorable and lasting impression.

We asked Salvino Benanti about the strategy to embrace wine tourism.

You are right about tourism being on the rise. It is something we are witnessing all over Italy, with Tuscany leading the pack and Sicily trailing just behind. I am, personally, very glad about this surge, because it allows us to come into contact with new enthusiasts every day and build a loyal community. The way we manage this sudden rise in numbers is simple. We only offer curated, high-end experiences, therefore segmenting our audience at the source and making sure that only seriously interested visitors reach out to us. This allows us to create a strong bond with our guests, effectively converting them into eager, spontaneous ambassadors of Etna and Benanti.

Since our visit was part of a Rick Steves tour, Sue wondered how that relationship got started. Salvino Benanti explains that …

The relationship with RS [Rick Steves] dates back to 2013. Rick’s local guide, Alfio Di Mauro, visited us “incognito” on a gloomy, cold winter day and casually asked if we would be available to host a group of cheerful Americans in the coming weeks. We said yes and…. the rest is history. Rick himself has visited us on two occasions and we really appreciate his drive, energy and commitment to his customers and his suppliers. He is a great man.

Over the years, we have hosted thousands of RS travelers — some more than once — and we have also met many back in the US. What Rick has created is really a great community, which we are proud to belong to!

Significantly, the Rick Steves guests are generally tourists first and wine tourists second (if at all), but the Benanti experience seems to draw these two threads together. The results include cellar door sales in Sicily, retail sales back home, brand ambassadors throughout North America (Benanti’s largest market), and growing awareness of Etna DOC wines.

Of course organized visits like ours is only one element of a wine tourism strategy. While we were in Catania Sue and I participated in a cooking class organized by Cotumè. It was a fun experience and we enjoyed the food and wine when we were finished. Sue later discovered that the cooking experiences take place at several nearby wineries, including (of course) Benanti.

The future of Sicilian wine tourism is promising, but to be really successful it must go beyond cellar door sales to build markets and reputation abroad as the Benanti Winery is doing. The opportunities are great, but there are challenges, too, which we will address in next week’s Wine Economist column.

Roll Over Beethoven Syndrome? Classical Music & Wine’s Identity Crisis

May 5, 2026 By Mike Veseth in popular culture, wine 3 Comments

Jeff Siegel recently interviewed me for a Drinks Insider article called “What Happens if Wine Becomes Just Another Luxury? The Road to Irrelevance.” The article was inspired by a conversation we had about a decade ago (Jeff has a very good memory!) about parallels between classical music and fine wine. Both were once defining cultural elements. Now not so much. Are the two phenomena related? Can we learn anything from comparative analysis?

Here is a Flashback column from 2016 that tries to understand what was happening to wine by looking at what was already going on in classical music. I invite you to read this flashback column and then jump ahead to Jeff’s analysis.

Bach, Beethoven, Bordeaux?

Classical Music & the Terroirists’ Revenge

The Wine Economist / January 5, 2016

The Future Symphony Institute has published an essay that I wrote for them titled “The Revenge of the Terroirists.” It talks about the complicated relationship between fine wine and classical music in the modern world. Because it is very brief the arguments are not fully developed, but I think you will see where I am going with it.

I invite you to click on the links above to read the essay and to learn about the Future Symphony Institute and its ambitious mission.

What Can Wine Teach Classical Music?

The idea for this essay springs from a series of conversations I have been having with Andrew Balio, the principal trumpet of the Baltimore Symphony Orchestra and the executive director of the Institute. Balio’s mission is to try to help the musical world think through the economic and intellectual crises that confront classical music and to begin the process of rethinking and renewing it for the 21st century.

The website puts it this way: “Our mission is to formulate a strategy for the renaissance of live classical music and to translate that strategy into programs made freely available to everyone they may benefit.”

Balio was interested in wine because it seemed to him that the wine world had resisted some of the forces that are plaguing classical music. Not all wine is great, but there is substantial and expanding support of and interest in the practices, values and traditions associated with authentic wine and wine culture.

And the interest in fine wine is not limited to the rich or the elderly. It is a very broad movement and an expanding one. If wine can do this, he wondered, maybe classical music can do it, too.

The Terroirist Cause

I am interested in this project for three reasons. First, I see Balio and his colleagues as “terroirists” who push back against commodification and unnecessary simplification. I wrote about and championed the terroirist cause in my 2011 book Wine Wars. Second, I am a fan of classical music, especially chamber music, and I hope they will achieve their ambitious goals.

Finally, as a member of the board of trustees of a liberal arts college, I recognize that many of the issues that confront classical music organizations are similar to the challenges facing the liberal arts.

Once upon a time there was broader understanding and appreciation of the value and purpose of both classical music and liberal arts education. But for somewhat similar reasons both have become very expensive to produce and their critical role in civilization seems to have been forgotten by many.

Both sets of institutions need to rethink their business models to address the new reality, but that will not be enough. Both need to engage society in new ways that will renew understanding and appreciation without diluting or distorting the values that made them important in the first place. Both need a strong dose of terroirism combined with thoughtful and effective strategy.

The Future Symphony Institute seems like one place where this might happen. I hope my brief essay will help the Future Symphony Institute as it launches a series of articles examining ways that wine can inform classical music and help move it back to center stage.

Maculan & Tenuta Biserno: Italian Wine Beyond the Stereotypes

April 28, 2026 By Mike Veseth in Family Wineries, Italian wine, wine, wine history 4 Comments

Breganze and Bibbona. Cabernet Sauvignon and Cabernet Franc. These are not necessarily the first things that come to mind when you think about wines from Italy. But, to paraphrase Walt Whitman, Italian wine is large; it contains multitudes. Embrace stereotypes at your peril.

Sue and I were fortunate to be invited to taste the wines of Maculan and Tenuta Biserno, stereotype-busting wineries that show both the depth of Italian wine and the diversity of family wineries in Italy.

All in the Family

Maculan and Tenura Bisero are both family-owned wineries and the family aspect has been important to their development. Tenuta Biserno is a project of the famous Antinori family. Piero and Lodovico Antinori worked together to develop this property just outside of the Bolgheri zone, and their nephew Niccolo Marzichi Lenza, is the managing director. The Antionri family trace their roots in the wine business back more than 600 years, although their rise as quality producers has taken place in the last 50 years.

The Maculan family’s roots in the Veneto wine sector go back to 1911, not as deep as the Antinori’s, but impressive when you consider the nature of the wine business and the history of Italy during that period. Great-grandfather Gaetona made rustic wines to sell to passing cart drivers. Grandfather Giovanni established the winery, making bulk wine sold in the local market. Fausto, the current winemaker, was sent to the famous wine school in Conegliano and so, about 50 years ago, the trajectory toward higher and higher quality was estblished and the Maculan brand and reputation solidified. This path continues today with Fausto’s daughters, Angela and Maria Vittoria, guiding the enterprise into its second century.

Thinking Outside the Bottle

What types of wine do you think of when you think of Tuscany and the Veneto? Sangiovese-based wines are the Tuscan stereotype and you might imagine Amarone, for example, if you think of Veneto red wines. It would seem that, if you want to honor local terroir, you would necessarily reach for those well-known grape varieties.

It is interesting, therefore that both Maculan and Tenuta Biserno are known for their international varieties, especially Cabernet and Merlot. These are not native grape varieties for Italy, but they have been cultivated in some regions for so long that they are considered traditional varieties. In the hands of talented winemakers like these, traditional grapes can develop wines with distinct personalities that reflect each particular terroir. I like the idea that wines should have personalities like people.

And Now for Something Completely Different

We have met people who enjoy and know something about it, but are happiest when they find familiar tastes and styles. They sometimes seemed confused by the unfamiliar. Sue and I seem to seek out the unfamiliar, which means we are sometimes disappointed, but more often delighted. The wines from both Maculan and Tenuta Biserno delighted us in different ways.

Il Pino di Biserno, for example, was exciting both because ot its complicated aromatic profile and also because it presented an unexpected Italian take on Cabernet Franc. Sue enjoyed charting the path as the wine evolved in her glass over dinner. Interesting and delicious.

Brentino from Maculan surprised as well because its classed Merlot-Cabernet Sauvignon blend was so very Italian in its style. French grapes, Italian sensibility. We really enjoyed it. But perhaps the biggest surprises from Maculan were the sweet passito wines, made from air-dried grapes (hung to dry on long ropes that remind us of farm-raised mussels). Dindarello is 100 percent Moscato dried for one month to produce a wine with 110 g/l residual sugar.

Torcolato is 100% Vespaiola, an ancient variety associated with the Vicenza area. The name probably comes from the fact that the super-ripe grapes attract wasps. The grapes are dried in a special room for four months nd the wine is aged in French oak for a year. Well-balanced and with 150 g/l residual sugar, Torcolato is a unique experience. What a treat!

Sue and I are still working our way through the wines of Maculan and Tenuta Biserno and we find something new to appreciate at every turn.

Affordabiity and Eric Asimov’s Search for Great Wine Values

April 13, 2026 By Mike Veseth in wine, wine markets 7 Comments

Value and affordability are hot-button terms in today’s economy. It seems like the cost of just about everything is going up, including especially the price of gasoline. No wonder consumers are looking for relief, searching for value.

This is not a new phenomenon, either in the wine world or in the economy more generally. The Wine Economist asked the question Is Wine a Good Value? back in 2024 because affordability was so much in the news then. (You may recall that “affordability” was a political campaign issue then as it is likely to be again this fall.)

The Price of Everything and the Value of Nothing

“Is Wine a Good Value?” noted that many consumer goods markets were suffering from a value deficit and wondered if wine might have the same problem. Are consumers buying less wine because they don’t think it’s worth it, given the economic circumstances and likely future prospects?

Some people, according to Oscar Wilde, know the price of everything and the value of nothing. Are wine drinkers like that? If wine costs too much, some argued, consumers can always trade down to cheaper brands. Yes, but there is evidence that many people have learned that lower price is not necessarily better value. We noted that McDonald’s introduction of cheaper menu items in 2024 had backfired. Customers didn’t want to pay less and get less. They wanted better value. (And McDonald’s, having changed its strategy, seems to be experiencing success giving it to them.)

Zoom ahead from 2024 to 2026 and the affordability issue is even more severe. Tariff effects, higher interest rates and loan repayments, rising fuel prices, and other factors squeeze budgets for consumers and squeeze margins for businesses up and down the supply chain. Wine isn’t the only or even the main victim of affordability stress, but it sure has had an impact. I don’t know how much affordability is to blame for poor wine sales, but I am sure it is a factor (especially in the on-trade).

Asimov and Wine’s Sweet Spot

Enter New York Times wine columnist Eric Asimov who, like many critics, has responded over the years to reader requests for help finding wines that are both good to drink and good value for money. Asimov’s latest advice appeared recently in a column titled “How to Find Great Values in Wine.” Good value doesn’t mean simply looking for the lowest price (or even the second lowest price). Asimov writes that,

For years, I have argued that, to spend the least amount of money, the greatest proportion of good values in wine were in the range of $15 to $20 a bottle. For less than $15, it’s difficult to find bottles that are exciting and emotionally engaging, qualities I want in every bottle I drink. Less expensive bottles are almost always sound, but most are boring and one-dimensional. For a little more money, up to $20, I’ve believed, the range of exciting wines increases exponentially.

Wine prices have risen in recent years, both because of the “premiumization” phenomenon and due to other factors such as rising costs and tariffs on imported wine and winemaking inputs. Is the sweet spot still there? Yes, Asimov says, but it has changed.

This has been true for a long time, but in the nearly 15 years since my first list of $20 bottles, the cast of wines has changed drastically. The bottle of Chablis from Domaine Picq that cost $20 in 2012 now costs $35 to $40, while the Langhe freisa from G.B. Burlotto now runs $45 to $50.

At the same time, however, new wines from new producers in new places have entered the market to fill gaps in the affordability matrix.But value is getting harder and harder to achieve.

How long will $15 to $20 remain the sweet spot for these sorts of wine values? It’s a lot harder to find them today. While I will continue to take on this particular challenge, it’s fairer to say $20 to $30 today is what $15 to $20 used to be.

The Value is Out There

“Value is out there. It requires being open to new grapes, different regions and unknown producers but the rewards are worth it,” Asimov says, and I think he is right. But that’s still a problem. Sue and I are willing to take a chance on unfamiliar wines, trusting that the pleasure we get from the successes will more than offset the disappointment we experience from wines that miss the mark.

But how many people, especially rookie wine drinkers, are willing to take that chance? Wine’s value proposition needs to be good enough so that the delight is worth the disappointment at every price point, don’t you think?

Chateau Changyu Moser XV and the Chinese Wine Chimera

March 31, 2026 By Mike Veseth in Changyu, China wine Leave a comment

China is a puzzle to me, at least when it comes to the wine industry there. Every time I think I understand what is going on it seems to change. My problem, I’ve decided, is that like many people, I like to put things (people, countries, wines) into neat boxes. And sometimes that works just fine. But often it is a struggle because people, places, and things are seldom just one thing. They have that chimera quality of simultaneously being many things at once.

The China (Wine) Syndrome

That’s been my experience with the Chinese wine industry. When my first wine business book, Wine Wars, appeared in 2011 many readers were drawn to the chapter on China because the very idea of Chinese wine seemed wrong. My first experience with Chinese wine, for example, was so bad it was memorable. It was a bottle of 1999 Changyu Cabernet Sauvignon that one of my students brought back from a semester in Beijing. Aroma profile: ash tray, coffee grounds, urinal cake. Poor China, if this is the wine they have to drink!

The same chapter ended with a very different idea of Chinese wine. It was Open That Bottle Night and one of the wines was the Grace Vineyards Tasya’s Reserve Cabernet Franc. It was as delicious as the Changyu was disappointing and distinctive, too. Lucky China, if this is the wine they get to drink!

Which idea of Chinese wine was real? Both, of course. And every time I have circled back to the subject I have found another face, another contradiction. No wonder I keep coming back.

Chateau Changyu Moser XV

Recently Sue and I have been introduced to the wines of Chateau Changyu Moser XV, which takes the “chimera” metaphor to a new level. The project, now more than 20 years old, is a Chinese-European partnership between Changyu wines, China’s oldest and largest winery, and Lenz M. Moser, a 15th generation Austrian winemaker. Chinese vineyards in the Ningxia region, European style.

Click here to view a 2018 promotional video about Chateau Changyu Moser XV that explains the project and shows vivid images of the winery and vineyards.

The wines, all Cabernet Sauvignon, also show some chimera DNA. They are, first of all, both reds (as you would expect) and whites. Moser is fascinated by the potential of Cabernet Sauvignon as a white wine and he goes to some effort to crush the grapes and then very quickly separate the skins from the juice before fermentation begins.

To take the chimera idea one step further, Moser makes two versions of each wine. The Chateau Changyu Moser XV Helan Mountain red and white wines see no oak at all. The Chateau Changyu Moser XV Moser Family red and white wines are oak aged. We also received a special wine called “Purple Air Comes from the East.”

Towering over the project is the final element: the chateau itself, which is quite a dramatic European chateau style building, but scenically set in Ningxia province, not somewhere along the Loire River as the photo shown here might suggest.

Variations of the Chimera Theme

How do chimera wines taste? In theory, I suppose, it could go either way. Some of those early Chinese wines we tasted were chimeras of sorts that didn’t work out very well. Since then, however, we have tasted many Chinese wines that could hold their own in any situation. How do the Chateau Changyu Moser XV wines stack up?

To find out we gathered a chimera sort of tasting group. Zari and Greg are experienced wine enthusiasts whom we have worked with before, but their experience with Chinese wines was limited to a few disappointing glasses during a visit to Beijing a few years ago.

Cynthia Howson and Pierre Ly, on the other hand, have traveled to China many times doing research for their book, Adventures on the China Wine Trail. They could evaluate the wines both in general and in comparison to the many other Chinese wines they had tasted.

The tasting dinner was very interesting. The white Cabernet wines were different from what we expected and, because of the subtle oak treatment of the Moser Family wine, different from each other, too. They were an excellent match to a smoked salmon appetizer that Cynthia and Pierre contributed.

The two Cabernet Sauvignon wines were also very different and the consensus was that the richer Moser Family wine was more satisfying and a good match to our mushroom risotto entree.

The highlight of the evening was the limited-production “Purple Air Comes from the East” Cabernet, which Pierre was especially interested in tasting. We’ll probably never have the opportunity to taste this wine again, so we’ll never know how it might age, but it impresses at this point. Zari’s chocolate stout cake was the perfect pairing.

Good News / Bad News

So we get to report good news about the Chateau Changyu Moser XV wines. The bad news is that U.S. readers will probably have to take our word about the wines because they are not (for now at least) available in this market. They are distributed in some European markets and, of course, in China.

There is one final chimera situation to report. Much of the news we heard about the Chinese wine industry is depressing. Wine consumption in China has fallen dramatically from its pre-pandemic peak. Wine sales have fallen around the world, but nowhere, I think, as much as in China. So China wine is in crisis.

But, while there is no denying this fact, it is also true that Chinese wine is thriving in terms of quality, and there are some segments of the industry that seem to be thriving. At least that’s what we found in the case of Chateau Changyu Moser XV.

Note: By coincidence, the top image on the cover of Cynthia and Pierre’s book is a photo that Pierre took when he visited Chateau Changyu Moser XV!

New Jersey’s “Open Source” Cabernet Franc Project

March 24, 2026 By Mike Veseth in emerging wine regions, wine, wine markets Leave a comment

Recently, Sue and I had a virtual meet-up with a group of winemakers who want to raise New Jersey’s profile on the U.S. wine industry scene and are working together to make that goal happen. Winemakers tend to be very competitive, so finding a group of them who want to play the team game is noteworthy.

It shouldn’t come as a surprise that New Jersey has an active wine industry with 76 wineries in 2026 according to Wine Business Monthly. After all, New Jersey sits comfortably between the well-respected wine regions of New York (450 wineries in 2026) and Virginia (395 wineries) with Pennsylvania (401) and Maryland (105) next door.

The Rodney Dangerfield Problem

New Jersey wine suffers from the Rodney Dangerfield “respect” problem. Grapes have been grown and wine made in New Jersey since colonial times, but the shift towards quality wine is relatively recent. New Jersey’s wineries have big ambitions in terms of quality, but small scale in terms of production as is often the case in states where a farm winery act shapes distribution channels. You might think of them as the Garden State’s hidden germs.

A small group of these wineries formed the Winemakers Co-Op in 2015 aiming to both improve the quality of New Jersey wines and to further its reputation. The member wineries are

According to their website their goals are:

Member wineries aim to produce benchmark dry wines from estate‑grown vinifera (European) varieties that illuminate the differences in soil and climate that exist throughout the Garden State. Through a series of intimate tasting events, industry outreach and communication with the press, these wineries have established themselves as leaders of fine wine production on the East Coast. By spearheading essential industry research and development, Co-Op members are striving to push the boundaries of quality with each new vintage.

Sue and I got involved when we were invited to sample the Winemakers Co-Op “Open Source” wines. The Open Source project is such an original idea that we just had to say yes. Here’s how it works.

Common Base, Individual Vision

Each year since 2016 the Co-Op members have chosen a winegrape variety that they all produced as the object of a project to showcase the group’s work. Each winery contributes half a ton of grapes, which are combined and redistributed, providing the “open source” or common base of the wines that each individual member makes.

The source material is the same, but of course each winery chooses what to do with it and so a variety of types and styles of wines result. Most winemakers are a bit competitive in my experience, so I imagine there is some effort to make wines that are distinctive while advancing the collective goal.

Certainly that is the case with the current release, which is made from Cabernet Franc grapes harvested in 2022. This is the first time for Cabernet Franc in the Open Source program. Chardonnay was the focus of the early years of the program. Bordeaux and Pinot Noir blends appeared in 2023 and 2024.

It is interesting to see how different winemakers have responded to the Open Source Cabernet Franc challenge. William Heritage Winery, for example, made a white wine by gently pressing whole clusters and fermenting and ageing in stainless steel with six months of lees contact. Unexpected!

Vive la Difference?

The other wines are red, as you would expect, but differ in all sorts of other ways. Variations on a theme and an opportunity for each winery to experiment and explore. But, since we have no previous experience with New Jersey wines, we were sometimes left scratching our heads. The first wine we tasted, for example, reminded us a little of a Napa Cab Franc we tried recently while the second was closer to a Loire style of wine. Are these wines typical of Cab Franc from this region? Or are they more about exploring differentiation?

I’m not sure we’ve seen a project like this before although it reminds me a bit of the Coro Mendocino project. The Coro Mendocino wineries make distinctive wines from a common blend, but not from the same actual grapes.

Production of the Open Source is obviously limited. Each winery makes only about 23 cases of Open Source wine each year. The wines wear special Open Source labels and this year’s Cab Franc wines sell for $45 per bottle. Sue and I were fortunate to be invited to taste through the Cabernet Franc lineup.

You probably want to know which wine we like best. Too soon to tell, because we haven’t tasted them all yet, and in any case taste is very personal. But the most important thing about the Open Source project is something bigger than the individual wines. The most important thing is that the members of the Winemakers Co-op are working together to take their wines and their reputations to the next level.

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About William Heritage Winery
A fifth-generation family-owned and operated estate vineyard and winery located in Mullica Hill, in the heart of the Outer Coastal Plain American Viticultural Area. Bill & Penni Heritage began cultivating grapes on their 150 acres of apple and peach orchards in 1999, realizing the potential of the Garden State wine industry and starting a new chapter for the next generation.

About Beneduce Vineyards
Founded in 2012 in Pittstown, NJ, Beneduce Vineyards is a sustainably-minded, 4th-generation farm on a mission to prove the potential for world-class wines exists in the soils of Hunterdon County. Focusing on small lot production, creating unique wines from 100% estate grown grapes.

About Hawk Haven Vineyard & Winery
Established in 2008 on land in Cape May that has been in the Wuerker family since the 1940s; Hawk Haven is owned and operated by husband and wife team Todd & Kenna Wuerker. Todd is a self-taught winemaker, crafting a diverse set of wines from 16 acres of estate-grown grapes. He has his sights set on becoming the first Garden State sparkling specialist.

About Unionville Vineyards
Set on 89 acres of preserved farmland in Hunterdon County, Unionville Vineyards comprises five estate vineyards spread over three counties, allowing for unique, expressive wines to be crafted from fruit grown in the varying terroirs of central and northern New Jersey.

About Working Dog Winery
Established in 2001 by a group of friends with a shared passion for winemaking, Working Dog Winery has grown into a nearly 20-acre vineyard producing over a dozen vinifera varietals. After 23 years of dedication, the founding members entrusted the winery’s future to Carlee Ludwig, Sharon Kyle, and Kevin Kyle as they entered retirement in December 2024.

About Auburn Road Vineyard & Winery
Founded in 2003 by former Philadelphia-based lawyers Scott & Julianne Donnini, who left the corporate world and never looked back. Jules is a self-taught winemaker, and Scott runs the marketing and operations – together they create old-world style wines with a keen sense of balance that frames the beauty of the fruit.

U.S. Wine Industry by the Numbers

March 10, 2026 By Mike Veseth in wine, wine markets 1 Comment

I am always excited to receive the annual “Review of the Industry” issue of Wine Business Monthly because it is so jam-packed with data and analysis. The 2026 issue (which was distributed at the Unified Symposium’s State of the Industry Session) is especially welcome because it effectively captures major shifts in the U.S. wine industry today. Here are some key takeaways of the WBM report.

Disappearing Wineries

Winery openings often get a lot of attention. Winery closings, not so much. Doors close, equipment is sold off, inventory is quietly liquidated, and memories fade.

If it seems like the number of wines and wineries is always growing it is due in part to the fact that openings are so much more visible than closings. But new wineries enter the market and existing ones exit every year.

Winery closings were impossible to ignore in 2026, according to WBM. The total number of wineries in the U.S. declined by 3% from 11,450 in 2025 to 11,107 at the start of 2026. That’s a decrease in the net number since there are always some openings to offset closings. The winery count has fallen by 512 since the 2024 data were released according to WBM.

The drop in winery count is widespread. There are wineries in every U.S. state and there were winery closings in every state but one: Missouri (253 wineries). Among the states experiencing losses, California (which has the most wineries) experienced the largest drop in winery count, Pennsylvania had the lowest, with the number falling from 402 to 401 according to the WBM data.

Overall, about one winery closed its doors each day of the year in 2025. That’s a lot of wineries, but not necessarily a lot of wine simply because most wine is made by a few large wineries (see below) but most wineries are relatively small.

WBM also provides data for Canadian wineries. Canada can count 831 wineries in 2026, according to the WBM data, down from 860 in 2025. Wine is made in every region except the Yukon Territories. The largest number of producers are located in British Columbia (317 wineries down from 329 in 2025), Ontario (284 down from 292), and Quebec (163 down from 170).

Clash of the Titans

The largest U.S. wineries are very large indeed and many of them are privately owned and do not release production figures. WBM profiles the top 50 wineries and estimates production when published data are not available. I thought it would be interesting to compare 2026 data for the top five wineries with the numbers from 2025 and 2016. Here’s what I found.

Gallo is #1 in 2026. It is the largest wine company in the U.S. and in the world by volume. Gallo produced an estimated 90 million cases of wine in 2026, down from 94 million in 2025 but higher than the 75 million it produced in 2016. Gallo’s portfolio grew when it acquired a host of wine brands from Constellation a few years ago. It has retrenched more recently and pivoted to other beverages such as the hot-selling High Noon vodka-based RTD brand.
The Wine Group: 43 million cases in 2026, 40 million in 2025, but 57.5 million in 2016.
Trinchero Family Estates: 17 million in 2026, 19 million in 2025. It was #5 with 18.5 million in 2016.
Delicato Family Wines: 16 million cases in 2026, 16.3 million cases in 2025. It was #8 with 8 million cases in 2016.
Deutsche Family Wine & Spirits: 12 million cases in 2026, #7 with 13 million cases in 2025. Not listed in the top 30 wineries in 2016.

The rest of the top ten for 2026: Jackson Family Wines (6), Treasury Wine Estates (7), Ste Michelle Wine Estates (8), Bronco Wine Company (9), WX Brands (100).

Constellation Brands, once the largest wine producer in the world, ranks #28 with 750,000 cases of wine produced. It was #3 with 50 million cases in 2016. Although it has retained a number of prestige wine brands such as Robert Mondavi, Constellation is now much more focused on its Mexican beer portfolio.

Bottom Line: The largest wineries are very large indeed, sell wines at many price points, and have considerable resources to deal with the current down market. But even they are not immune to the problems that plague the industry today. The fact that Gallo is down “only” 4 million cases in the last year sort of takes my breath away.

Distribution Bottleneck

It makes sense that WBM’s Review of the Industry issue includes an analysis of wine distributors. In my studies of different industries I have observed that there tends to be one or two major inefficiencies (I call them bottlenecks) in the value chain. Successful firms and even whole industries organize themselves around the problem of breaking through the bottleneck problem.

What’s the bottleneck in U.S. wine? It isn’t growing grapes or actually making the wine. It is getting it through the three-tier system into the hands of those who can sell it.

The two critical features of U.S. wine noted in the WBM report are, first, distribution remains highly concentrated in a few large firms and there is little top line change to report. Even though Republic National pulled out of California last year, for example, it still ranks as the #2 national wine distributor after Southern Glazer’s.

WBM reports that the distribution bottleneck is getting even narrower, driven by declining demand and narrowing margins. Retailers increasingly focus on a smaller number of SKUs that can generate reliable cash flow, which means that distributors must do the same.

As WBM reports, “… there are 1,061 unique wine distributors that operate across the United States. That’s slightly fewer than this time last year and roughly one-third of the number of wine distributors in business a few decades ago. … “It’s not a time for great variety, not a time to drive a thousand different things,” said Southern Glazer’s chief marketing and sales officer Gene Sullivan. “Customers are saying ‘Give me that stuff that matters.'”

Pareto and the 80/20 Rule

The great Italian economist Vilfredo Pareto observed the 80/20 phenomenon in 1896 and it has become a classic management principle reminding us to focus on what’s most important. The rule shows up in many ways. For example, according to my AI intern,

Business: 80% of sales often come from 20% of customers.
Productivity: 20% of your tasks produce 80% of your meaningful results.
Customer service: 20% of issues generate 80% of complaints.
Wealth distribution: Pareto originally observed that 20% of Italians owned 80% of the land.

The WBM report presents a variation on the 80/20 rule when it comes to distribution. Twenty percent of wines produce 80 percent of sales. The remaining 80 percent of wines face an uphill climb on their path to market. That’s not really new, to be honest (and maybe it is more like 90/10 in some cases) but it is maybe even more important now in a shrinking market.

Anatomy of Wine’s Triple Crisis

March 3, 2026 By Mike Veseth in economic crisis, Shameless Self-Promotion, wine, wine markets 2 Comments

Recently, I’ve noticed that Wine Economist posts and pages that reference my book Wine Wars II: The Global Battle for the Soul of Wine (2022) (such as “Countdown to Wine Wars II and Wine Wars II) are getting a lot of attention. I think I know why.

The biggest updates in Wine Wars II is a new closing section called Wine’s Triple Crisis. As I re-read this section (and reflect on current wine market conditions), I see why current readers might be especially interested. I’ve pasted below a very brief summary of this part of the book (clipped from the introductory chapter) so that you can see what it is about.

The environmental and economic crises are clear (and I hope I did them justice), so I want to draw your attention to the third issue, wine’s identity crisis. What is wine (is it just alcohol)? Who is it for (just for boomers or just for the wealthy or just for elites)? What does wine do to us (does it make us happy or does it make us sick)?

The identity of wine has changed dramatically in the last 100 years. No wonder the wine business has changed, too. Here’s that excerpt from Wine Wars II.

WINE’S TRIPLE CRISIS
The global wine industry is in the midst of a triple crisis, and I am not really sure how it will end. The climate change crisis comes first. It affects everything if we consider both direct and indirect effects, so it may seem odd to think of it as a wine crisis. Wine grapes generally can be made to grow under quite extreme conditions; in some colder regions, they actually bury the vines in the winter to protect them and unearth them each spring so that they can come back to life (you might call this Lazarus viticulture). But specific wine grape varieties thrive in only very narrow bands of average temperature, and wine regions defined by particular grapes or wine styles are threatened by relatively small changes in environmental conditions. Wine is, therefore, the canary in the coal mine when it comes to climate change. It will feel the impacts before many other industries, and so it is not a surprise, as I explain later, that wine businesses are among the strongest advocates for progressive environmental action.

The climate change crisis dwarfs everything else in the long run, but because the long run can seem far away and we often misjudge how fast it is approaching, climate concerns do not get the attention they deserve. Indeed, as the global reaction to the coronavirus pandemic crisis has demonstrated, climate change generally isn’t treated with the “drop everything” or “operation moonshot” urgency that real crises warrant. But even if the climate change threat were to disappear tomorrow, wine would still be in trouble.

The second crisis is economic. Wine is a magical beverage, but it is a crazy business. Wine’s economic environment is characterized by cyclical, structural, and “wild card” forces that make it difficult to prepare for or successfully execute a business plan.

Global wine consumption grew steadily for the twenty years that ended in about 2008, the date we associate with the global financial crisis. Rising wine sales were important because they slowly soaked up a surplus of wine. Too much wine? Well, for many years the European Union in effect subsidized wine
production to stabilize agricultural economies, especially in France, Italy, and Spain. Wine farmers were paid to grow grapes and to make wine that could not be sold, so some of it was distilled into industrial alcohol. Yuck! Those policies are history, and European winegrowers turned from government subsidy wine to wine aimed at global markets. This is a good thing, but it happened just as wine production increased in other parts of the world, too. The result: a lot of grapes, a lot of wine, and a lot of jobs and incomes at risk.

Rising global wine sales were most welcome in this context, and when sales dropped a bit in 2008, no one was very concerned. “It’s just the economy, dummy,” they said. “Wine will spring back when the economy improves.” But it didn’t, and the next ten years were what I have called “wine’s lost decade.” Why did wine lose its mojo? There are many possible reasons (I explain them later), but the sudden loss in momentum changes the nature of the game from a positive-sum fight, where a rising tide raises all ships, to a zero-sum fight for market share. And the battle isn’t just between Old World and New World or among the growers and producers in these regions; the opponents are now more diverse and unexpected than ever before.

The reason? Wine’s identity crisis. Wine has never been just one thing. It is, after all, both that fancy French Champagne at the top of the wine wall and that big box of Franzia at the bottom. Wine is healthful (think Mediterranean diet) and dangerous (read the government required warnings on wine labels in the United States). It is culture to some and just another commodity to others.

The cartoon character Pogo famously said, “We have met the enemy, and he is us,” and this is true in a way for wine. The biggest threat to wine’s identity is something inherent to wine’s existence: alcohol. You might think that wine is just grape juice with alcohol, but wine doesn’t taste much like the grapes it is made from except in a few specific cases. Fermentation doesn’t just add an alcoholic kick; it transforms the product in complex ways. It’s the same with the way that fermenting yeast makes bread different from flour and water. So wine as we know it is impossible without alcohol, but it may also be impossible with it if antialcohol forces have their way.

Wine’s identity crisis is significant because it seems like those who see wine as a social or health problem, not an essential element in our culture, have seized the momentum. If wine doesn’t know who it is and what it is and cannot tell its story to the world, then how can it survive?

OTBN 2026: The OG Wine Celebration We Need Today

February 24, 2026 By Mike Veseth in wine Leave a comment

The year was 1999 and Dorothy J. Gaiter and John Brecher (aka Dottie and John), then the wine columnists for the Wall Street Journal, surveyed the social landscape and realized somebody needed to do something to help people get together their hopes, fears, thoughts, and stories over a glass (or two) of wine.

The Birth of OTBN

Why wine? Here at Wine Economist world headquarters we like to say the water keeps us apart but wine brings us together. Maybe that was it. But maybe it had something to do with the fact that, as I wrote in my book, Around the World in Eighty Wines, wine’s purpose is to make us happy. And the world always needs more happiness. The problem, Dottie and John realized, is that wine is too often set aside for special occasions that don’t come around nearly often enough. Something needed to be done!

The result was a global holiday called Open That Bottle Night (OTBN), which is celebrated on the last Saturday in February each year. Yes, we know that every day should be Open That Bottle Night, but in reality that seldom happens. There are all these bottles sitting around, their superpower to bring people together waiting like Aladdin’s genie to be released.

Wineries Embrace OTBN

As Dottie and John reported last year, many wineries have embraced OTBN and made it their own. Some do this for purely commercial purposes, I suppose, because the wine industry is looking for ways to sell more wine, especially now. But I think it is as much pull as push in many cases. Many consumers are thirsty for community and winery OTBN events often provide the connection that they seek.

Fielding Hills Winery in Chelan, Washington, was one of the wineries featured in that article and we asked manager Megan Mitchell to tell us about what OTBN means to the winery. Megan’s parents, Mike and Karen Wade, founded the winery over 25 years ago (her sister Robin was one of my university students). Here’s what she had to say:

At Fielding Hills, we have been “unofficially” celebrating Open That Bottle Night since Karen stumbled upon Dorothy J. Gaiter & John Brecher’s Love by the Glass: Tasting Notes from a Marriage (2003) in the early 2000s. In 2024, we celebrated our 25th harvest by hosting twenty-five events though the year, Open That Bottle Night became an “official” celebration at the winery.

During the evening, we journey back through decades of winemaking and growing seasons, reflecting on what was going on not only in the vineyard but also in the world. On our tasting sheet, I like to put some pop culture references as well as the price of gas and of a dozen eggs….

The fun of it is that you never know what you’re going to get or what people will like. My favorite part of the night is the end, when we conduct a straw poll to see what people enjoyed the most…it’s usually a pretty even split between the old stuff and the new stuff. … In 2026, we are going to pour a vertical of merlot… 2013 (#1 Merlot in WA state), 2014, 2015, and a 100% 2015. I also like to pour a current release (2022) and a barrel sample (2024).

How Do You Celebrate OTBN?

There is probably no wrong way to celebrate OTBN. Since our first OTBN in 2009, we have enjoyed formal dinners, restaurant dinners, informal gatherings, and even a Zoom session during COVID, which was a surprisingly moving experience. In 2011 we were traveling in Argentina and held OTBN on our own. These days we host a potluck where our friends bring wine, a story about the wine, and some food to share.

It is always a memorable experience, but the lasting memories are seldom about the wines themselves. It is usually the stories that stick in our minds. It is as if opening the bottle actually opens something else, something more important. I don’t think I can explain it any better than that.

Sue asked some of our long-time OTBN friends to talk about what OTBN means to them. Here’s what they had to say:

“It’s now like an annual holiday, enshrined as it is on the February calendar,” said Mary. “For me it’s not so much the wine — it is, of course, but ‘wine’ has come to mean many more things: the steadiness of friendship, the nostalgia of memories, the uncomplicated joy of gathering. And so the wine, gaining complexity and texture as it ages, but also a simple pleasure. When I choose the wine now — which, of course, Ron [her late husband] the masterful storyteller always did, so it’s kind of a poignant task — I think of those happy times we had together.”

Ken, who, with his wife, Rosemary, has hosted several times over the years, said that OTBN is a “great opportunity to see cherished friends and share our mutual appreciation of delicious food and wine while listening to some great stories. I always learn more about wine and the people with whom I’m sharing it.”

Richard said, “Every year is a special year, and I am sure this year will be no different. Thank you both for introducing OTBN and including me and Bonnie in the festivities!” He cited two memorable years in particular:

From 2010: That was the night that Ken and Rosemary had their “indentured children” as food and beverage servers. It was their teenaged son’s first taste of Chateau d’Yquem — and Richard’s as well. The son’s assessment: “The wine Mr. C. let me taste was really good.” This also counts as one of Ken’s top memories.

From 2014: Ken and Rosemary celebrated their 25th anniversary by serving 25-year-0ld wines plus wines of their children’s birth years.

Is OTBN a Serious Holiday?

Dottie and John contacted us as they were preparing a recent Grape Collective column on OTBN. They were concerned about celebrating wine when there are so many very serious social, political, economic, and even geo-political issues that demand our attention. Is it un-serious to think about wine at a time like this? Our reply became part of their story:

This will be our 17th OTBN. We have a core group of six people, with others off and on over the years. Our OTBN isn’t just about the wine — its heart is the people and the stories they tell about the wine. Yes, these are indeed difficult times. It seems the things that divide us as a country and a world are even deeper than before. This makes Open That Bottle Night even more important. Wine’s superpower is that it brings us together and coming together over a glass of wine is sometimes the first step to bigger things. Of course we are celebrating OTBN. Now more than ever.

I guess when you think about it OTBN really is a serious holiday, but the trick is not to take it too seriously. Because it really isn’t about the wine. It’s about what the wine can do when we share it with others.

Happy OTBN 2026. Share the wine, the stories, and the love.