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.

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.

Small is Beautiful: Bulichella’s Distinctive Tuscan Coast Wines

November 4, 2025 By Mike Veseth in Italian wine, wine, wine markets 1 Comment

This is not an easy time to be an Italian winemaker. There is climate change to deal with, of course, and the global fall in wine (and alcohol in general) consumption. Add to this the dramatic 28 percent decline in shipments of Italian wine to the U.S. market that has been reported recently by the Unione Italiana Vini. U.S. consumers love Italian wines, which is why they are the biggest import category, but the combination of tariffs, unfavorable exchange rate movements, and pre-tariff stock-building have taken their toll.

The headwinds are the same for all wine producers. Small wineries may lack economies of scale and scope, but small can be beautiful in a crisis. A small winery doesn’t have to push vast numbers of bottles and cases through the distribution pipeline to balance its books. They need the right customers to find them in just the right number to balance the books. It’s a problem and the current economic environment doesn’t help, but it is a human-scale problem.

Italian by Design

This is one of the lessons we have taken away from our recent discovery of Bulichella, a wine estate in Suvereto on the Tuscan coast between Grosseto and Livorno. The Suvereto appellation may not be large or famous like many others in Tuscany, but it boasts DOCG status, so its quality is recognized.

Sue and I were surprised to be invited to a Zoom tasting of Bulichella wines with the winemaker Nico Miyakawa because this didn’t seem the moment to take Italian wines to the U.S. market. But I guess we were thinking big wine. So we listened, sipped, and learned.

Bulichella is a project that Hideyuki Miyakawa began in 1983, first in partnership with friends and eventually as a family project of his own. Miyakawa is Japanese by birth and, I guess you could say, Italian by nature. He was a cofounder of ItalDesign, the famous automotive design practice. ItalDesign achievements include cars for Fiat, Alfa Romeo, DeLorean, Volkswagen, Maserati, Lotus, BMW, and Audi. The designs, both limited-output and mass-market, have helped define the modern auto era.

The Labels Tell a Story

So it is not entirely surprising that Miyakawa brought a certain style to Bulichella (named for the locality within the Suvereto appellation), which continues today with his grandson Nico Miyakawa. Sue and I found ourselves attracted to two very different ideas of design when we sat down to try the wines.

The labels, which were created by members of the Miyakawa family, are very personal and can almost be read like parables. The label of the Coldipietrerosse — a Cabernet, Merlot, Petit Verdot blend — shows the winery, organic farm and vineyards, the sea, and the island of Elba in the background. All the pieces seem to fit together naturally, without tension or conflict.

The label for Rubino, a blend of Sangiovese, Merlot, and Cabernet, shows a family of wild boar in the vineyard. Are they the Miyakawa family? That’s my guess, especially when I look at the label for Tuscanio, a 100 percent Vermentino wine. Two generations of wild boar look down on the vineyards and territory. What are they thinking? What should we think?

The thing that is hardest to make out on the Bulichella labels shown here is the name of the winery! Bulichella, Suvereto, Tuscany is printed in teeny tiny type. The story is the brand, not the winery name. An interesting design choice, don’t you think?

Designed by Nature

So there seems to have been much thought given to how nature and family fit together at Bulichella. Would this design influence the wines themselves? The only way to answer the question was to pull corks.

We started with Rubino. At about 15,000 bottles per year, it is the winery’s flagship and largest production wine. The wine was fresh, elegant, and restrained. The heavy hand of a winemaker was nowhere to be found. The finished wine didn’t really taste like its components (we would not have guessed Sangiovese), so what did it taste like? The place? The terroir? Hard to tell, since we’ve never been there.

Tuscanio, the Vermentino wine, confirmed our suspicions. It was different from any Vermentino we have ever tried. Nothing like Sardinia. Could we sense the rocks and the sea that define Bulichella’s domain? Yes, that’s how it seemed to us. And the wine didn’t just hold up as time passed, but it seemed to become more and more like itself.

This prepared us pretty well for the limited production Coldipietrerosso, which is named for the hill with the red rocks that you see on the labels. Seamless, elegant, refined. Not quite like anything else.

Small is Beautiful

Before you ask, you won’t find these wines in the United States. Not yet, at any rate. Nico and company are looking for the right distributor partners to bring their wines to America. They don’t need a big mass-market pipeline because they couldn’t possibly fill it. And the wines are so particular to place that they are best seen as hand-sells.

So the tariffs and the falling dollar are problems, but not the most important challenge. Find the right people to drink the wines, to distribute the wines, to import the wines. That’s the human-scale problem these wines were designed for. Small really is beautiful sometimes, don’t you think?

Rediscovering the Diversity of Tuscany’s Wines with San Felice

August 19, 2025 By Mike Veseth in Italian wine, wine, wine tourism 1 Comment

Sometimes it takes a special event to nudge you to take another look at a familiar winery or wine region. That’s what recently happened to us with the wines of Tuscany in general and San Felice in particular.

A Tuscan Wine Giro

Our old friend Peter and new friend Gina are newlyweds planning their first visit to Italy. They’ve booked a house near Montalcino for a week. Did we have any tips? Yes, of course, we love talking about Italy and Italian wine, so we met over Sunday lunch on the patio. Brianna, Peter’s daughter, also joined us.

We decided to feature San Felice wines because they have wineries in several Tuscan zones (San Felice in Chianti Classico, Belle’Aja in Bolgheri, and Campogiovanni in Montalcino) and so can represent the diversity of the region’s wines very well. As a bonus, the Campogiovanni winery would be easy for Peter and Gina to visit during their stay.

The lunch and wine pairings were great. We began with In Avane Chardonnay Toscano IGT just to show that even a familiar international grape variety can have a distinctive Tuscan twist. Then we moved on to the Bell’Aja Bolgheri Bianco, which is a white blend built around Vermentino, a grape variety our friends hadn’t tasted before. Although many people equate Tuscany with red wines, the white options are there and delicious.

The Red and the White

Red wines? It was time to compare and contrast two interestingly different styles: the Borgo Chianti Classico (a blend of Sangiovese and Pugnitello) and the Campogiovanni Brunello di Montalcino (Sangiovese all the way). The wines were very different and showed just how much there was to explore within the San Felice range and, by extension, within Tuscany, too.

The lunch was a success and we can’t wait for Peter and Gina to get back from their trip and tell us all about their new discoveries. In the meantime, Sue and I have rediscovered another of the San Felice wines. Our garden is producing eggplant and tomatoes right now, so our variation on pasta alla Norma was on the menu a few days after the lunch. The wine we picked was the San Felice Pugnitello Toscana IGT and it was a perfect match. Pugnitello is an ancient Tuscan grape variety that San Felice has worked hard to revive as a varietal wine and as part of the Chianti Classico mix. We really loved the depth and bright acidity of the single-varietal wine, which was perfect to cut through the richness of the pasta sauce.

You know, these San Felice wines are all really excellent, Sue noted as we were finishing the last of the Pugnitello. Delicious, distinctive, not a single false note. I’m glad we had an excuse to rediscover them and share them with special friends.

Generational Thinking at San Felice

The rediscovery of San Felice’s wine gave me an excuse to look more deeply into San Felice, the wine company. Like the famous Antinori winery, San Felice can trace its origins back hundreds of years. Unlike Antinori, however, it is not family-owned. For more than 50 years Società Agricola San Felice S.p.A. has been part of the Allianz Group, a multinational insurance and financial services company headquartered in Germany.

Many people (including me) agree with Piero Antinori that the wine business is well-suited to family ownership because long-term generational thinking has advantages over quarterly-statement thinking in the wine world. This is perhaps why a disproportionate number of winery firms, including many of the largest and most famous, are in family hands.

But family ownership is neither necessary nor sufficient for success in wine. Sue and I have visited many cooperatives, for example, that seem to think in terms of generations (the generations of their grower family members), some after suffering the disastrous consequences of short-term strategies.

And there are some financial firms, like Allianz, that have married the generation thinking of their businesses (products like pensions and life insurance, for example) to the generational requirements of the wine game. Allianz is not the only firm of its type in global wine. The financial giant AXA Millésimes, for example, owns chateaux in Bordeaux and wineries in Portugal, Hungary, and the United States. TIAA, the company that administers my university retirement fund, is one of the largest vineyard owners in Napa Valley. The long-term thinking required for pension investment is remarkably consistent with the generational thinking that is one key to success in wine.

Looking more deeply, I am impressed with how Allianz has invested in and developed San Felice both in terms of the vineyards and wines that impressed us so much, but also now the development of tourism and hospitality programs such as Borgo San Felice Resort.

Cheers to Peter and Gina. I hope they enjoyed their Tuscan adventure. I know they will enjoy the wines they discover there. Thanks for helping us rediscover the wines, too.

Italian Wine Innovators: Three Case Studies

August 12, 2025 By Mike Veseth in Italian wine, wine 1 Comment

It is useful to step back for a minute and appreciate some of the ways that the wine industry is evolving under the influence of innovative producers. Sometimes innovation is so obvious you can’t miss it. That was the case for us, for example, when Sue and I participated in the big SIMEI wine technology program in Milan. But innovation takes many forms. Herewith three interesting Italian case studies.

Product Innovation: Pasqua Wines

Pasqua Wines, which celebrates its 100th birthday in 2025, was the first Italian winery to receive the Wine Enthusiast Innovator of the Year award in 2023. The Pasqua family determined in 2014 to take bold steps, exploring with the possibilities of their wines while not losing hold of their roots in the Veneto. The results have garnered much attention, as the Wine Enthusiast recognition shows.

Sue and I had the opportunity to get a first-hand sense of the innovation earlier this year by comparing the classic Famiglia Pasqua Amarone della Valpolicella with ther Mai Dire Mai Amarone della Valpolicella. The classic Amarone was just that, classic. Powerful (15 percent abv) but elegant. Exactly what you would hope for it a fine Amarone wine.

Mai Dire Mai means “never say never,” and the wine really pushed the limits in terms of power (16.5 percent abv), wood treatment, and intensity generally. It made us stop and think about what Amarone is and what it can be. And this is just one example of the sort of new thinking behind the Pasqua family’s innovation program. We can’t wait to be “lab rats” in other Pasqua wine experiments in the future!

Process Innovation: Ca’d’Gal Wines.

Ca’d’Gal winery has a claim to product innovation, too, but that’s not why it is on this list. Ca’d’Gal makes the traditional wines of its region, Mostaco d’Asti and Barbera d’Asti, and IGT varieties including Sauvignon and Chardonnay, too.

What is different about them, from our home tastings, is their restraint. If you are used to having Moscato right in your face (if you know what I mean), you might have to search a little bit to find it here. These are wine for a new generation who do not necessarily appreciate the obvious.

But I am interested in Ca’d’Gal more for its process innovations, the way it has changed the way it makes some of its best wines to give a new idea of the region’s wines. The inspiration was sort of a Back to the Future concept. Winery owners Alessandro Varagnolo learned of an old tradition where bottles of wine were buried in caves for many years and then dug up when mature. This reminds me a bit of the recent practice of storing wine bottles in the ocean to mimic, in a way, the effect of wines trapped in sunken ships. A difference was that the ship wrecks were accidents and the buried wine was intentional.

With this idea in mind, Ca’d’Gal has been covering boxes of special old vine Moncato d’Asti wines in sand and leaving them in the dark and humidity for literally dozens of months. We were given a bottle of Moscato Vite Vecchia 2016, a very limited production of wine aged in the sand for 60 months. I am not sure if it was the old vine juice or the sand box ageing, but the resulting wine was extremely complex. A very different idea of Moscato. Perhaps it will stimulate a small movement to rediscover other forgotten wine processes and revive them for a new age.

Identity Innovation: Manzone Wines

Economists typically focus on product and process innovation when studying the industrial change, but I think it is possible to add a third category, identity innovation, to the mix. Sometimes something happens to simply change the way that everyone thinks about a particular product or firm. That’s how I think about what’s going on at Giovanni Manzone winery.

Like Ca’d’Gal, Manzone is celebrating its 100th anniversary in 2025. The family and its wine business has seen a lot of changes in those hundred years and have developed a deserved reputation as producer of fine Barolo wines. Sue and I have enjoyed their Langhe Nebbiolo and Barolo bottlings, but it is one particular wine that made us rethink everything.

The story of Manzone Barolo Reserva Cento Anni began in sixteen years ago 2009. There was something special about that vintage that inspired the Manzone family to give some of the best wines special attention. In order to develop the balance of power, intensity, and elegance, the wine was aged in neutral oak fior an incredible 84 months before going into concrete tanks for 60 months more.

Only about 3000 bottles of Barolo Cento Anni were made, so you are unlikely to randomly stumble across it at your local wine shop. Anyone lucky enough to taste it, however, will see both Barolo in general and the Manzone wines in particular in a different way. A bold innovation and fine tribute to one hundred years of a winemaking family.

Existential Threat? Anatomy of Italy’s Wine Crisis

July 15, 2025 By Mike Veseth in economic crisis, Italian wine, wine, wine markets 1 Comment

It is cold comfort for U.S. winegrowers, producers, distributors, and retailers, but they are not alone in suffering a cascade of wine market woes. Recent reports from Italy, for example, paint an increasingly clear picture of a major wine-producing country in crisis.

UIV Analysis Focuses on Exports

The Unione Italiana Vini, which has more than 800 members and accounts for 85% of Italian wine exports, has been “the voice of Italian wine” since 1895. Recently that voice has sounded an alarm. A June 2025 press release focused on falling export demand for Italian wine. Italy’s domestic market for wine is large, of course, but production is very much larger, so many regions depend critically on export sales. Exports account for 63% of total sales in Piedmont, for example, 59.5% in Tuscany, and 58.7% in Abruzzo.

The U.S. is Italy’s biggest export market, so you can imagine that President Trump’s “Liberation Day” tariff announcements were not welcome news in Italy. As the UIV chart above shows, there was a surge of shipments to the U.S. in the first two months of 2025 as exports were accelerated in an attempt to build inventories before the tariffs went into force (Italy was not the only wine country to use this strategy). Then exports to the U.S. fell sharply in terms of both volume and value.

With substantial stocks in U.S. warehouses and unfavorable tariff and exchange rate conditions, the prospect of improved exports to the U.S. market for the rest of the year is not bright. And all this was driven by uncertainty about U.S. policy as the final tariff rate was not yet determined.

Trouble Beyond the U.S. Market

A second recent press release presented even more disturbing news.

The imbalance between potential output and market demand was highlighted in a report presented today by UIV’s Observatory, led by Carlo Flamini. Data from the first five months of 2025 show volume declines across Italy’s top four export markets: Italy (-1.8%), U.S. (-4.7%), UK (-3%), and Germany (-9.6%). These countries collectively account for 73% of Italian wine revenues. Overall retail sales are down 3.4%, with still and sparkling wines falling 5.3%. Only spumante bucked the trend, growing 4.9%. Despite the downturn, Italy remains the only major wine-producing country expanding its vineyard area – a growth that risks worsening oversupply.

Italy has been fortunate to experience several short harvests in recent years, which have masked the large structural wine surplus that is now impossible to ignore. What is to be done?

Internal and External Adjustment

One strategy is to focus on export markets by negotiating lower tariffs and reduced trade barriers generally. But, as the press release suggests, it would be all but impossible to replace lost U.S. sales by shifting focus to other markets. Some attractive non-EU export markets (think Brazil) have tariff barriers (27%) even higher than the 10% or 20% rates often discussed for the U.S. Border adjustments won’t solve Italy’s problems. Internal reforms are needed.

Here is the UIV’s agenda.

UIV is urging immediate structural changes to balance supply and demand. Key proposals include:

Lowering grape yields per hectare, including ending exemptions for generic wines.

Aligning DOC (controlled designation of origin) production limits with actual 5-year averages.

Reducing or eliminating the 20% overproduction allowance for DOC wines.

Revising reclassification mechanisms and accelerating production management tools.

Freezing new planting authorizations for one year.

UIV is also calling for a major reorganization of Italy’s appellation system. Although 529 DOC/IGT labels are officially recognized, just 20 account for 80% of national production.

There are two things to note on this reform agenda. The first is that it sensibly addresses the market surplus from both supply and demand perspectives. Fewer grapes and less wine should be produced on the supply side. And changes should be made to make the wine easier to understand and more consumer-friendly on the demand side.

Too Many Cheeses?

I especially support the movement to reduce the kaleidoscopic blur of regional designations. Charles de Gaulle famously said that it is impossible to govern a nation with 246 different kinds of cheese. Strong local identity isn’t always easily aligned with national purpose.

Italy is learning that having 529 regional wine identities can be a problem, too. (A lesson that might apply here in the U.S. as well.)

The second thing I would like you to note is that the reform agenda focuses on regulation, which is the way that Old World wine sectors tend to view things. Sometimes I think that the most important difference between Old World and New World is whether responsibility for change is located in the public or the private sector. (In this way of thinking many New World wine countries belong in the Old World.)

In any case, I agree that Italy’s current problems are due in part to the regulatory structure, which has sometimes aimed to protect producers from market forces rather than channeling those forces productively. So the UIV’s proposals for reform are appropriate. The question is, will they be implemented and then will they succeed?

Existential Threat?

The situation worsened last week when U.S. President Donald Trump threatened 30% tariffs on EU products including wine, an increase from the 20%, then 10%, then maybe 17% rates suggested earlier this year. The fact thast the dollar has fallen in value substantially against the euro this year magnifies the dilemma by increasing the cost of European wines to U.S. buyers regardless of the tariff rate.

The term “existential threat” is thrown around too casualy these days but it may perhaps apply to the Italian wine industry today. Here is the UIV response to the 30% tariff threat.

Rome, July 12, 2025 – “It took just one letter to write the darkest page in the history of relations between two long-standing Western allies. A 30% tariff on wine, if confirmed, would amount to a near-embargo on 80% of Italian wine exports. At this point, the fate of our industry – and hundreds of thousands of jobs – hangs on what could be considered extra time, which will prove crucial. It’s unrealistic to think such volumes can be redirected elsewhere in the short term. At the same time, an extraordinary intervention from the EU will be absolutely necessary.” This was the stark warning issued by Lamberto Frescobaldi, President of Unione Italiana Vini (UIV), following the Trump administration’s announcement – delivered in a formal letter – of additional 30% tariffs on European Union wine imports, set to take effect on August 1.

Italian Prime Minister Georgia Meloni is sometimes said to be a “Trump whisperer,” able to talk sense to the U.S. President. I am sure Italy’s wine sector is hoping she will succeed in her efforts so that they can move ahead with their necessary reforms.

Searching for Italy’s Wines: A Stanley Tucci Flashback

July 8, 2025 By Mike Veseth in Italian wine, popular culture, wine 4 Comments

The first season of Stanley Tucci’s new travel and food series, “Tucci in Italy,” is running this summer on the National Geographic network. Click on the image above to view the series trailer.

Sue and I can’t get enough of Italy, so we’ve been tuning in regularly for this just as we did a few years ago for his CNN series “Searching for Italy.” We enjoy the shows (it is fun to count the number of times Tucci says “wow” in each episode) and the many memories they inspire, but we have a gripe.

Where’s the wine?

Italy is nothing if not a country of wine. Wine is everywhere, but different in each particular place. The land, the food, the wine, the people, it all goes together. You can even tell the history of Italy through its wines, as one celebrated author has done.

But wine rarely makes an appearance in Tucci’s reports. In Alto Adige, for example, he mentions the wine is very good (it is!) but not much more. We were watching the episode on Lazio a few weeks ago and just about melted down. At one point he visited the Frascati region (a good sign) and mentioned that they make wine (go on, go on). But that was about it. Oh, there’s wine here, too. Sigh.

Toward the end of the same episode Tucci dined with a winemaking family in another part of the region and asked about how they came to make wine. A good start. And you could see that there was a different kind of wine in each glass. What about that? But that was all. If there was more discussion about wine at that lunch it was left on the cutting room floor. A missed opportunity for sure.

Not everyone sees the situation the way that I do. I was surprised to read a recent article accusing Tucci of over-hyping wine experiences in his shows and making wine tourism problems worse! One of the issues seems to be his interest in the Florentine wine windows. Maybe I need to revisit Tucci’s old series because I think there needs to be more wine, not less.

Bringing Wine to the Table

Why does this matter? Well, the wine industry in general and Italian wine sales in the U.S. market in particular could use a little boost these days. It wouldn’t hurt if wine were highlighted a little bit in a popular television show, especially one about Italy. Wine is already on the table. Doesn’t it make sense to talk about it?

Stanley Tucci isn’t alone in missing obvious opportunities to bring wine into the food and travel frame, as we were reminded recently while watching the Croatia episode of the insanely popular Netflix series “Somebody Feed Phil.” There was wine on the table most of the time and Phil cven commented on how good it was at least twice. But the next step (to say something more specific and therefore useful) was never taken.

To be fair, Phil might have gotten the message. The most recent season features a visit to Georgia (the country, not the U.S. state) and the episode begins with Phil in a vineyard harvesting grapes. He visits the Teliani Valley winery, learns about Georgian wine history, and appreciates the famous Qvervi wines. I think he gets it! (Sue and I visited Teliani Valley in 2016 and had our own “ah ha!” moment as we reported in this Wine Economist column.)

This isn’t the first time I have complained about this situation. Here is a Wine Economist flashback column from 2021 that bemoans wine’s absence in Tucci’s earlier CNN series.

I think Tucci could do a lot with (and for) wine in his television series. Let’s hope the message gets through.

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Memo to CNN: Searching for Italian Wine?

The Wine Economist / March 9, 2021

Dear CNN,

Sue and I have been watching the CNN original series “Stanley Tucci: Searching for Italy.” Tucci visits six Italian regions, talks with the people, enjoys the food, and tells some stories. Maybe it is because of the pandemic, but there is something very satisfying about following Tucci on his journey. You might want to check it out.

Tucci starts his Giro d’Italia in Naples and then moves on to Rome, Bologna, Milan, Tuscany, and Sicily. The title suggests that he is “Searching for Italy.” Will he find it? Not if he thinks that Italy is a single thing with a single cuisine, because that Italy has never existed. But if he is willing to accept that Italy is its regions — and I am sure he is — then he’ll be fine and so will we.

Searching for Italian Wine

The chapter on Italy in my book Around the World in Eighty Wines is a Tucci-esque search for Italian wine. My quest to find one wine that can represent all of Italy’s wines comes tantalizingly close to success at one point, but ultimately I realize that Italian wine is impossible. There are only the wines of Italy’s regions. No wonder the Italian wine map is perhaps the most complicated in the world.

So it seems to me that Searching for Italian Wine would make a great series for the same reasons that Tucci’s program is so popular. But what would a program about Italy’s wines be like? Walking though beautiful vineyards is great and makes good video, but you can only do that so often before it gets a bit old. Ditto for visiting cellars, inspecting barrels and tanks, and wondering at the majesty of shiny new pneumatic presses and speedy bottling lines.

Watching wine being made isn’t as interesting as watching food being made for some reason (perhaps because it takes so long) and in any case Tucci’s producers seem to realize that there’s a limit to how many times they can show onions being diced or pasta being rolled and cut. So instead they show the hustle and bustle of markets — that never gets old to me — and focus on real people, who they are, what they do, and how they define and are defined by the local products and food. That’s a model that works every time, if you don’t lose sight of your goal.

Searching for Italy and Its Wines

This leads me to my main point, which is that Tucci’s Searching for Italy could be the perfect Italian wine show if it just brought wine more fully into the frame (note: I write this before the Tuscany episode has been aired). Wine shows up all the time in Searching for Italy, but it is just something the people drink with the food, never an important element of the story. Wine in Italy is so much more.

The Bologna episode is a case in point. Yes, the Prosciutto, Mortadella, and Parmigiano Reggiano cheese are amazing. We were fortunate to enjoy them almost every day when I taught at the Johns Hopkins School of Advanced International Studies Bologna Center a few years ago. Our apartment was on a little alley called Via Pescherie Vecchie in the heart of the heart of the famous central market area. It is an inescapable element of the city’s life so naturally it was on Tucci’s Bologna itinerary. Here’s a video of a visit to this street to give you a sense of the place.

So what do you drink with these intensely local products? Well, wine of course, but there is a particular local wine that we think is magical. It is called Pignoletto and it is so local that I doubt you will easily find it anywhere else. As I wrote ten years ago after a return visit to our old neighborhood …

Pignoletto is a dry white wine grown only in the hills outside of Bologna. “Lively, crisp, aromatic” is how Jancis Robinson describes it in her Guide to Wine Grapes. Pignoletto is distinctly Bolognese — grown there, made there and I think that every last drop of it is consumed there, too, since it goes so well with the rich local cuisine (almost as if they evolved together … which I guess they did). It would be hard to beat the simple meal of salumi, cheese and bread that we had with a bottle of Pignoletto frizzante at Tamburini‘s wine bar in the Bologna central market.

The food and this wine evolved together in Bologna. No wonder they are such a perfect match. And they say something about the importance of place in a footloose world, don’t you think? It would have been easy to include this wine (and some others, too) in the Bologna episode, CNN, and your viewers would have thanked you for opening this door to Italian wine, food, and culture.

Dear CNN: Who Ya Gonna Call?

So, CNN, you are probably wondering who can help you take Searching for Italy to the next level by adding the magic of wine to the mix? Well, our team here at The Wine Economist stands ready to lend a hand (and pull a few corks) and we have no end of ideas for season 2 in the Veneto, Friuli, Alto Adige, Piemonte, Liguria, Sardinia — and that’s just getting started! Let’s take that Italian map and search for Italy and Italian wine in every corner.

Italy is a mosaic of people, places, wine, food … and wine, too. Let’s work together to tell the story of Italian wine in context, one beautiful region at a time.

Sincerely,

The Wine Economist team

Tenuta Licinia: In Praise of Philosophers & their Wines

May 22, 2025 By Mike Veseth in Italian wine, wine, wine markets 1 Comment

If you flip to the back of my 2017 book Around the World in Eighty Wines, you’ll find a list of the wines from my global adventures. I didn’t want to just list them alphabetically or sort by price or critic rating. Organizing them by country of origin didn’t seem right, either. So I invented categories that would link wines with similar characteristics.

The Joy of Lists

The first category, “Wines of the People,” includes Two Buck Chuck, Mateus Rosé, Mouton Cadet Rouge, and Four Cousins Sweet Rosé from South Africa, among others. These are very different wines united by their popular appeal and market success. Do you see the connection?

Next up is “Noble Wines,” and it starts with Chateau Petrus and continues with Henschke’s “Hill of Grace” from Australia and several others. You can probably think of the wines that you’d add to the Noble list. I admit the lists are totally subjective. I’d probably include different wines today. That’s part of the joy of wine (and of lists).

One of my favorite groups is called “Philosopher Wines.” Sometimes we encounter wines that demand more attention than others and provoke a certain amount of introspection, too. You don’t drink them so much as contemplate them. And we are sad when the glass is finally empty.

Philosopher vs Philosopher’s

These are the “Philosopher Wines” and just reading the list (which starts with a 100-year-old Tawny from Seppeltsfield in Australia and ends with Methode Ancienne Cabernet Sauvignon from Springfield Estate in South Africa) gives me a special feeling.

I don’t plan to revise or update my 80-wine journey but, if I were to update the list, I think I’d have to add a new category. In addition to “Philosopher Wines” I’d have “Philosopher’s Wine,” wines made by philosophers. I’ll bet there are more than a few (didn’t Warren Winiarski of Stag’s Leap Wine Cellars study political philosophy at the University of Chicago before he went down the wine rabbit hole?).

This thought is provoked by an online tasting of Tenuta Licinia wines that Sue and I took part in a few weeks ago. Tenuta Licinia is a small (6.5 hectares of vineyards) winery in a part of Tuscany that doesn’t get too much attention. This particular area near Lucignano had a long history of wine that faded in the 20th Century. Now it is coming back.

A Certain Idea of Wine

The project started about 50 years ago as the personal mission of Jacques de Liedekerke, a prominent Belgian attorney. He recognized the potential of certain vineyard plots in the region and, over 20 years, slowly brought them back to life. His vineyards and his mission eventually passed to his grandson, James Marshall, who, like Winiarski, has followed a path from the serious study of philosophy to the serious study of viticulture and enology.

Talking with Marshall via Zoom reminded me (in a good way, I want to point out) of any number of conversations I have had with philosophers during my academic years. There were thoughtful pauses and occasional clouds of self-doubt mixed with sure statements of principle and intent.

Marshall has for sure a certain idea of wine (to paraphrase Charles De Gaulle), which is based on particular sites with their aspects and soil profiles and particular grape varieties and getting the combinations just right. Winemakers, like philosophers, need to have strong principles that they constantly question, I guess.

Marshall has a number of provocative ideas about wine and one that I like a lot is that his wines should be so good that they appeal to novices, people who don’t know much about wine or don’t have much experience with it. This struck me as odd at first because we normally think of novices as having simple tastes that need to be developed over time to appreciate the best wine.

The Magic Words

But then he said the magic words, Chateau d’Yquem. D’Yquem is widely recognized as one of the world’s greatest wines (indeed, it is often named the world’s best). Yet, Marshall noted, it is immediately appealing to both experts and rookies. His goal isn’t to make a Tuscan d’Yquem, but to make wines as delicious and appealing in their own ways as d’Yquem is in its way.

We were lucky to receive four wines to sample. The Tenuta Licinia Montepolli (named for the vineyard) is an IGT Toscana blend of Merlot and Petit Verdot that was elegant and delicious. The IGT Toscana Sasso di Fato, a blend of Cabernet Sauvignon, Cabernet Franc, and Petit Verdot, was complex, elegant, and memorable. One of the best wines of the year so far. Both wines were light and bright and refreshing, but serious at their core.

Sue and I agreed that the wines did not especially remind us of their component grape varieties. They tasted like … well, I guess they tasted of the place more than the grape and, if this is true, it reflects Marshall’s intent and his attention to detail.

The Petit Verdot Question

We also received half bottles of varietal Cabernet Franc and Sangiovese and we are working on a sampling strategy for them. But the wine that I would love to taste is the 100% Petit Verdot Sasso di Licinia because Marshall brought it up so often in the Zoom interview.

He really doesn’t like the Petit Verdot, he said a couple of times. Wrong grape, wrong place. Subsoils not exactly right. Not what he wants to do. But it is really good with the local Tuscan steak and in fact a neighborhood restaurant wants him to put some in bag-in-box for by-the-glass sales, which makes sense. Marshall really doesn’t like the idea of bag-in-box any more than he likes the Petit Verdot itself, but the wine is really nice with the steak. That’s a fact. So maybe he should do it.

And so on, around and around. Maybe yes, maybe no. It’s kind of fun to turn it over in your mind and see where you come out. Oh, philosophers, you are so interesting! And some of you make really good wine. I’d love to hear from other philosopher winemakers in the comments section.

Cru Cerrati and Ruchè: Piemonte Wine’s Past, Present, & Future

February 4, 2025 By Mike Veseth in Italian wine, wine, wine markets Leave a comment

What do you remember about the hit 1985 film “Back to the Future”? Doc? Marty? The “Chuck Berry” scene? How could you forget that time-traveling DeLorean sports car?

I don’t know if anyone thinks much about the film’s deeper messages anymore, but the idea that the future is somehow buried in the past is a theme that has long been of interest. It shows up in wine in various guises. Here are two “Back to the Future” stories from the Piemonte region of Northern Italy.

The Return of Cerrati in the Land of Barolo

The Rossi Cairo family has been making wine, especially Gavi DOCG, at their biodynamic farm, La Raia, since 2002. They began a “Back to the Future” journey in 2015 when they expanded their vision to Tenuta Cucco in the prime Serralunga region where the Nebbiolo grape and Barolo wine are firmly rooted.

Tenuta Cucco presented the Rossi Cairo family an opportunity and a challenge in the form of the Cerrati vineyard. Cru Cerrati was well known and respected in the past, receiving special note in Renato Ratti’s Map of Barolo in 1971, for example, and even in the 1990 Slow Food wine atlas of the Langhe, but its glory faded over the years until Piero Rossi Cairo, working with La Raia winemaker Clara Milani, determined to convert the project to organic viticulture and to revive the vineyard and the reputation of the Cerrati zone.

Sue and I enjoyed the opportunity to taste the wines and participate in a Zoom call with Piero Rossi Cairo and Clara Milani. About 80 percent of Tenuta Cucco’s production is exported; the United States is the biggest single market.

The two estate vineyards total about 20 hectares and total production is about 70,000 bottles (6000 cases) each year including white wines (Chardonnay), a traditional method sparkling Pinot Nero, Rosé, and, of course, the reds. The Barolo DOCG Serralunga d’Alba, a blend of grapes from the two vineyards, is the main focus with production of 25,000 to 40,000 bottles depending on the year. Only about 2400 bottles of single-vineyard Barolo wines from Cerrati and Bricco Voghera are produced each year. And 5000 to 8000 bottles of a fresh and fruity Langhe DOCG Nebbiolo are made.

The “no wood” Langhe Nebbiolo was simply delicious, with beautiful color, light body, soft tannins, intense aroma, and complex fruit flavors. If you are looking for a “Baby Barolo,” this isn’t it. But who wouldn’t enjoy a wine like this with cheese and salami or a light pasta? And the Serralunga d’Alba was delicious, too, a great culinary wine because of its medium body and nice acidity. The single-vineyard products are philosopher wines, to be appreciated at a relaxed pace. We haven’t decided which one we like best, but are very much enjoying the opportunity to study them.

Ruchè Renaissance

Wines made from the Ruchè grape variety are full of contradictions. Wine Grapes tells us that “Varietal wines tend to be headily scented, often with aromas of roses. They can be spicy and the tannins so marked that the wines can sometimes leave a bitter aftertaste.” Roses, spicy, bitter — not something you find every day.

Sue and I first stumbled on Ruchè back in 2011 when we attended a food and wine festival in Moncalvo, near Asti. As I wrote then, “I had never heard of Ruchè and honestly didn’t know what it might be until I happened upon the stand of the Castagnole Monferrato group. They were cooking with Ruchè, marinating fruit in Ruchè and selling it by the glass — they were obviously very proud of their local wine. I had to try it and it was great. Suddenly I saw Ruchè everywhere (a common experience with a new discovery) and enjoyed a bottle at dinner in Asti that night.”

Ruchè very nearly disappeared at one point as attention focused on market-friendly grapes such as Barbera and Nebbiolo. As Ian D’Agata explains in the chapter on Ruchè Italy’s Native Wine Grape Terroirs, Don Giacomo Cauda, Castagnole Monferato’s town priest, was obsessed with Ruchè, studied it, collected specimens from scattered small plots, and promoted Ruchè as the region’s signature wine. Ruchè di Castagnole Monferrato received DOC recognition in 1987 and was elevated to DOCG in 2010, putting it up among the elite of the Italian wine world. A long climb from near-extinction to the summit in just 50 years.

But DOCG recognition does not automatically translate into sales. Almost everyone around Castagnole Monferrato probably drinks Ruché, but almost no one does anywhere else. Selling an unfamiliar wine like Ruché requires creativity and determination. So we were intrigued to learn that a local importer, Mallard Libations in Woodinville, Washington) has taken up the challenge so that those who know Ruché will have an opportunity to enjoy it and hopefully help spread the word.

We’ve started our new Ruchè research with the Ferraris Agricola Ruchè di Castagnoble Monferrato Riserva DOCG, which featured medium body, a memorable nose, and more depth than I remember from the wines we enjoyed in Italy. This single-vineyard wine deserves its “Riserva” designation. It is one of five different Ruchè wines that Ferraris produces. We are especially looking forward to trying the flagship Opera Prima Riserva.

Ferraris Agricola takes Ruchè and its history very seriously. Luca Ferraris, a.k.a. “Mr. Ruchè,” has created a Ruchè Museum that chronicles Ruchè’s history and celebrates its rebirth. We have added it to our “must-see” list for our next trip to Piemonte.

Discovering new wines or wine regions is always interesting. Re-discovering (and perhaps even rescuing) over-looked wines and regions is even more satisfying. Innovation, we are told, is especially important in today’s wine market environment. Back to the future can be part of that process.