WanderCurtis Wine

Wine tastings, corporate events, reviews and recommendations


Leave a comment

The McRae Wood 2015 Jim Barry, Clare Valley.

This little brother to the iconic Armagh shiraz that Jim Barry produces holds its own. At almost 10 years old the deep garnet colour shows little sign of evolution.

The nose is pronounced in intensity with waves of violets, ripe red and black fruit, liquorice, dried herbs and a pleasant medicinal note. There are new oak lashings of smoke, chocolate and vanilla and some signs of evolution such as prunes, tobacco and dried meat.

It’s undeniably a big wine of the old school variety but very well balanced, freshness prevents the alcohol and body from weighing it down and everything hangs off firm but ripe tannins. The finish is long and layered.

Great to drink now but will continue to slowly evolve for another decade.


Leave a comment

Are wine makers leaning too heavily on SO₂?

Wine making is a process full of potential pitfalls: oxidation, microbial spoilage, unwanted fermentations to mention but a few. To manage these, winemakers have relied for centuries on sulphur dioxide (SO₂), a highly effective antioxidant and antimicrobial. But with modern tools and shifting consumer expectations, there’s a growing question: are winemakers leaning too heavily on SO₂?

SO₂ plays several roles in the winery. It protects white wines from oxidation, which causes browning, dulls fruity aromas, and leads to acetaldehyde development (that bruised-apple note). It also suppresses unwanted bacteria such as Acetobacter, which can turn wine to vinegar.  It also helps control fermentation by weakening wild yeasts or halting it altogether to retain sugar in sweet wines. In red wines, natural phenolics offer some antioxidant protection, but SO₂ is still used to preserve freshness and stability.

It’s important to understand that SO₂ exists in both bound and free forms in wine. Only the free, molecular form is active in preventing spoilage. However, as SO₂ reacts with other compounds suchs as sugars, anthocyanins and aldehydes, it becomes bound and inactive. This means it is gradually “used up” during the winemaking process and must be carefully monitored and topped up.

As a wine is made there are several key intervention points:

  • At harvest and transport, SO₂ (often as potassium metabisulfite) is added to prevent microbial activity and oxidation during the vulnerable period between picking and processing.
  • After crushing, the must is tested, and additional SO₂ may be added, particularly in white wines, which are very prone to oxidation before fermentation begins.
  • During fermentation, SO₂ levels are typically kept low to allow yeast to function, but it can be used to inhibit spontaneous fermentation or halt it early, especially in the case of sweet wines.
  • Post-fermentation, SO₂ helps to prevent malolactic fermentation (MLF) where it’s not desired and maintains wine stability during aging. Barrels may be sterilised with burning sulphur, and free SO₂ levels are monitored throughout maturation.
  • At bottling, a final SO₂ addition protects against oxidation and microbial spoilage during storage and transport.

All this is standard practice. But is it always necessary?

SO₂ is not without controversy. Although most wine contains far less SO₂ than permitted by law, health concerns remain. Some individual, particularly asthmatic, may react to sulphites, and although the connection to headaches is unproven, it persists in the public mind. Beyond health, the use of SO₂ has become a philosophical issue in the natural wine movement, where minimal intervention is the goal.

The good news is, modern winemaking offers alternatives and supports more precise SO₂ management. Improved hygiene, use of inert gases (like nitrogen or CO₂), careful oxygen control, and alternative antioxidants such as ascorbic acid can reduce reliance on sulphur. Similarly, fermentation can be controlled by lowering temperature, sterile filtration, and stabilising agents like sorbic acid, again reducing the need for heavy SO₂ additions.

Crucially, SO₂ additions should be based on analysis, not routine. Monitoring pH, oxygen levels, microbial activity, and the free amount of SO₂ at each stage allows winemakers to tailor additions to actual need, rather than defaulting to maximum thresholds.

The “safe” amount of SO₂ depends on wine style, stability targets, and customer expectations. For example, a fresh, aromatic white like Marlborough Sauvignon Blanc requires more protection than an oxidative white Rioja, which is intentionally exposed to oxygen. Sweet wines and those with residual sugar, such as German Rieslings or Californian White Zinfandels, also require more SO₂ due to sugar’s reactivity and red wines less in general.

While it’s entirely possible to produce low or no-sulphur wines, these often show oxidative notes, haze, or instability that some consumers embrace and others reject. Conventional wine drinkers generally expect clarity, freshness, and shelf-stability and delivering that usually requires some level of SO₂.

Ultimately, SO₂ is not the enemy. It’s a critical tool, but not the only one. Good winemakers will find the right balance. Whatever style of wine is being made the science and the tools are available to reduce reliance on sulphur to a minimum whilst meeting the expectations of their customers.


Leave a comment

Rotondo Aglianico del Vulture 2012

From the Basilicata region in the south of Italy just where the ankle would be of whoever is wearing the uncomfortably high healed boot.

It is warm and mediterranean here but the slopes of Monte Vulture provide some cooling altitude to slow the growing season down allowing flavour to develop in the grapes. These mineral rich soils of volcanic ash and limestone over clay drain well but retain moisture which is also needed  for the grapes to grow in the warm climate.  

Aglianico is the other key ingredient here known as the Nebbiolo of the south.  This grape variety thrives in these harsh volcanic soils, ripening very late and retaining high levels of acidity. This along with a powerful tannic structure and concentrated fruit can create wines with great aging potential.

This wine by Paternoster which is 100% Aglianico has a deep colour displaying its bottle age. Out of the glass jump black berries, black cherries and herbal notes of dried thyme and liquorice. It’s seen some newish oak evident from the touch of vanilla, coffee and smoke and there are lovely mature aromas of prune, prosciutto and tobacco.

In the mouth it is definitely full bodied but has great balance, the abundant tannins are firm but ripe and fine grained. It remains fresh through the long finish and there is not a hint of heat. In fact, 14% seems pretty restrained in these times when a lot of pinot noirs are coming in at 14.5%.

Look at for this grape variety from Vulture DOC and the more premium Superiore DOCG version.  It is also the major component of wines from Taurasi in Campagnia where it is generally softened with a little Piedirosso in the blend.


Leave a comment

Do low yields really make for better wines?

There’s a romantic allure to the idea that if vines put all their energy into fewer grapes, flavours concentrate, skins thicken and wines of depth and character will follow. It’s a story winemakers often tell, and it’s one that underpins much of European wine law. But does lower yield really mean higher quality in the glass? Or is it more complicated than that?

In the AOC system (Appellation d’Origine Contrôlée), maximum yields are tightly regulated. As you move up the hierarchy, the permitted output drops. For example, in IGP Pays d’Oc, where mass-market Merlots and Syrahs are made, yields can reach 100 hL/ha. But in Bandol, home to intense Mourvèdre reds, the limit is just 40 hL/ha.

Many wineries proudly talk about their yield-reducing techniques: bud rubbing, green harvesting, shoot thinning, all in pursuit of better fruit. But how real is the link between fewer grapes and better wine?

Grape quality.

It’s true that lower yields often result in higher-quality grapes, smaller berries with more concentrated flavours and better balance between sugars and acids. In red grapes, that also means a higher skin-to-juice ratio, which is crucial for extracting colour, tannin, and aroma. This can lead to wines that are more structured, more complex, and more age-worthy.

Conversely, when a vine carries too much fruit, the result can be diluted, insipid wine. The vine simply can’t ripen everything well. Sugar may build, but flavour lags behind, and acid levels drop, leaving wines flat or unbalanced. This is particularly noticeable with more delicate varieties that struggle to retain their identity under high cropping.

But this isn’t a one-size-fits-all rule. Some varieties are more sensitive than others. Pinot Noir, with its thin skin and delicate nature, thrives on low yields. Push it too hard, and it quickly loses character. Grenache, on the other hand, can crop more generously and still produce juicy, expressive wines, particularly in warm, dry climates where ripening is less of a challenge.

Correlation isn’t the same as causation

In Burgundy, Grand Cru vineyards like Echezeaux are restricted to 35 hL/ha, and the wines are often sublime. But low yields alone don’t guarantee greatness. In Bordeaux, some legendary vintages; 1982, 2005, 2010 delivered both high quality and high volume. And in tough years like 2013 or 2017, yields were low, but this certainly didn’t make them great vintages.

The issue is this: yields can be low for many reasons, frost, hail, drought, disease. These stresses can reduce volume, but they don’t necessarily improve grape quality. In fact, they often have the opposite effect, leaving berries under-ripe or damaged. Low yield, in these cases, is more of a symptom of vineyard struggle than a sign of excellence.

It’s about balance

What really matters is how much fruit a vine can properly ripen. This sweet spot depends on grape variety, vine age, and, critically, location. A vine in the cool Mosel will struggle to ripen Cabernet Sauvignon no matter the yield. In contrast, in warm, dry areas like Châteauneuf-du-Pape, Grenache can yield generously and still reach full flavour.

This is why a balanced vine is everything. A healthy canopy, well-matched to the fruit load, allows grapes to ripen slowly and evenly. Sunlight must reach the bunches without overexposure. Dr. Richard Smart’s research highlights the importance of the leaf-to-fruit ratio. If the canopy is managed well, through pruning, training, and shoot thinning, the vine can support both ripeness and complexity, even at higher yields.

Beyond yield: The bigger picture

Yield is just one piece of the quality puzzle. Soil structure, drainage, and mineral content shape a vine’s health and its capacity to ripen its fruit. Climate, both macro and micro, dictates ripening windows, acidity levels, and the development of flavour compounds.

Then comes vineyard management: irrigation, pest control, canopy structure. And let’s not forget the winemaking itself. Gentle handling, fermentation temperature, ageing choices all can make or break a wine, regardless of what happened in the vineyard.

So yes, lower yields can help, particularly with sensitive varieties and in cooler climates. But  plenty of mediocre wines come from low-yielding vintages, just as some brilliant bottles emerge from vines that carried more fruit.

Practical limits

Growers do have tools to influence yield like green harvesting and bud removal, but they’re not without risk. Pruning too early invites frost damage. Cutting bunches mid-season may encourage larger grapes, lowering that all-important skin-to-juice ratio.

In practice, especially in regulated regions, if harvest looks too big, grapes are often simply left on the vine or dropped before picking to meet AOC rules. That might tick the legal box, but it doesn’t always improve quality, especially in mechanically harvested vineyards, where sorting isn’t as selective.

Dr. Smart argues that growers have more control over ripeness than yield. By managing the canopy to avoid shading and encourage even ripening, growers can often improve both the quality and the quantity of grapes. When a vine is in balance for the site in question, the result is often better than any number dictated by regulation.

The verdict.

So, does low yield mean better wine? Well sometimes……..

Great wine comes from thoughtful choices: matching grape to place, nurturing healthy vines, managing the canopy, harvesting at the right moment. Yield matters, yes, but quality is about balance, timing, and a touch of artistry.


Leave a comment

Ca’ del Bosco Cuvée Prestige, Franciacorta, Lombardy

Franciacorta is Italy’s answer to Champagne, traditional method, bottle-aged sparkling wines that aim for finesse rather than flamboyance. Ca’ del Bosco is one of the region’s most respected producers, and their Cuvée Prestige offers a polished, fruit-driven expression of the style, built on freshness and backed up with complexity.

Image by Ca del Bosco

In the glass, it’s a pale lemon with a fine, persistent mousse. The nose opens with gentle white blossom and ripe citrus, lemon and peach give way to subtle tropical hints of melon. There’s a creamy, baked element too, with aromas of pastry, bread and a dusting of vanilla, leading into a faint thread of honey and dried apricot that adds some welcome depth.

On the palate, the wine is dry with medium-plus acidity and a round, almost silky texture. Flavours mirror the nose, ripe orchard fruit, delicate citrus, and that creamy brioche core, supported by a soft mousse and a gently warming finish. The complexity is there, albeit restrained, and while the finish doesn’t quite linger long enough for top-tier status, this is a really very good wine.

It’s a shame that we don’t see that much Franciacorta in the UK. Look out for these elegant, well-balanced wines often with extended lees aging for those lovely brioche notes when you are in Italy. I particularly like the Saten style which is a Blanc de Blanc with lower dosage.


Leave a comment

Brunello di Montalcino 2019 En Primeur – under exam conditions!

En Primeur, the sale of wines as futures, was until a few years ago a method of sale for premium Bordeaux and Burgundy but now it is increasingly being used for fine wines from other regions. 

In this tasting the wines are pre-release but not by much.  Brunello di Montalcino must be matured for a minimum of 5 years, including at least two in barrel, before being released to the market.  These wines are already in bottle, rather than barrel samples and due out in 2025. So this EP seems to be more about marketing and to generate some expert reviews and promotional activity amongst the merchants.

For the customer the days of buying a future wine to help the wine makers cash flow and enjoying a slight discount in exchange are largely long gone.  Now EP seems to be more about securing an allocation of rare or prestigious wines.

Brunello di Montalcino is a DOCG south of Siena within Tuscany. It is warmer and drier than Chianti producing more powerful concentrated expressions of Sangiovese. Its not far from the coast so parts receive some cooling breezes and inland the beautiful rolling hills provide a little elevation. Both of these factors help slow ripening down, which helps develop flavour and maintain freshness in the wines.

The seated format of the tasting was actually brilliant, no juggling of glass, catalogue (or e-catalogue on your phone) pen and pad, and no elbows required to push through the usual scrums that form around the popular tables – bliss!

It reminded me of how much I like Brunello and I was impressed by how approachable many of the wines were already on release. However with high acidity, fine sandy tannins and that concentrated red fruit they promise much more to come with bottle age. Many displayed classic sour cherry, dusty soft red fruits, bay leaf, dried herbs and a hint of black tea.  

It was great to try and compare and contrast the impact of different soil types, those with more clay seeming to display riper fruit. Also to contrast the effect of using either Slavonian or French oak casks. Whilst the French oak did add a layer of spice and sometimes subtle toast, none of the wines I tried seemed overdone. 

Of the many great wines on show a few stood out to me:

  • Argiano BdM – Lovely nose, balanced with a nice touch of spice.
  • Banfi Vigna Murrucheto BdM – Concentrated fruit and subtle toastiness.
  • Capanna BdM – Classic sour cherry, black tea and touch of wet stone.
  • Col d’ Orcia BdM – Intense riper red cherry and plum, dried herbs, bay leaf and a nice dusty finish.
  • Col d’ Orcia Poggio al Vento Riserva 2016 – Concentrated pot purri, raspberries, sour cherry, black tea, smoke and leather, super long. 
  • Sesti BdM – Consistently fine, roses, sweet cherry, cranberry, dried oregano,  black tea and freshly turned soil, amazing concentration. 
  • Sesti Phenomina Reserva 2018 – Knock put too!
  • Uccelliera BdM – A big wine but still fresh with rich cherry tart, roasted herbs and a bit of toast. 

Many thanks to Hunt and Speller and Consorzio del vino Brunello di Montalcino for organising this great tasting and providing so much interesting information about the wines in the catalogue.

By the way don’t forget the Rosso di Montalcino category of wines too. Supposedly entry level  but many of the top estates produce what are effectively baby Brunello’s which represent great value for money and can be enjoyed sooner.

For more information on the region see our Brunello di Montalcino trip tasting notes.


Leave a comment

Stanton & Killeen Classic Rutherglen Muscat 12YO, Victoria

Rutherglen Muscat is one of the wine world’s most distinctive and underrated treasures, and Stanton & Killeen’s Classic 12-Year-Old is a fine example of the style at its most expressive and poised.

This wine is made from a unique local mutation of Muscat à Petits Grains Rouge, commonly referred to as Rutherglen Brown Muscat. Harvested in passes over several months to give a mix of fresher and shrivelled and sugar-laden berries, the grapes are crushed and start fermentation on the skins. Once enough flavour has been extracted it is fortified with grape spirit, halting the process and preserving intense natural sweetness. From there, the wine enters a slow, warm maturation process, typically in old oak barrels housed in tin sheds exposed to Victoria’s sweltering summers and cool winters. Over many years, this environment promotes oxidation and concentration, developing the deep, caramelised, nutty and savoury complexity for which the style is known. Each component is carefully blended from solera-like systems to achieve harmony and depth in the final multi vintage wine.

Image by Stanton & Killeen

In the glass this wine is deep brown, almost mahogany, with a faint greenish glint at the rim, a quiet visual reminder that, despite its richness, this is technically a white wine. The nose has dried rose petals and potpourri, cooked apple, and layers of warming spice, cinnamon, nutmeg, even a touch of savoury soy. From there it deepens into a swirl of sticky dates, fig, raisin and brown sugar, underpinned by a rich seam of chocolate, caramel, and toffee.

On the palate, the wine is full-bodied and unmistakably sweet, though a brisk, well-judged acidity keeps everything in check. It’s intensely flavoured, concentrated and unctuous — a wine that seems to coat the tongue but finishes clean and long, echoing its medley of dried fruits, spices and oxidative notes. The alcohol is moderate by fortified standards, and neatly integrated.

This is an extraordinary wine not just for its complexity and texture, but for the way its elements are held in such fine balance. It’s layered, richly flavoured and confidently made, delivering depth without heaviness, and showcasing the unique aged style that Rutherglen delivers.


Leave a comment

Penedes & Xarel-lo master class with Alvaro Ribalta MW

An enlightening DO Penedes & Xarel-lo master class with Alvaro Ribalta MW yesterday.  Alvaro was able to cut through some of the complexity of the region which overlaps with #Cava and #Catalonia and has no less than 10 named sub-regions. Key take outs were three broader zones: coastal, middle valley and mountainous and the quality focus coming from a group of well-travelled younger winemakers. 

The consensus is that #Xarel-lo, suited to the mediterranean climate and poor soils, high in acidity and age worthy, is the most promising grape for Penedes quality wines. It is neutral and examples show how well it works with a range of winemaking techniques; new oak, battonage, a bit of skin contact, concrete eggs, sparkling traditional method and even natural wine making. 

 Great examples were: 

  • X Col-leccio 2019 by @Nadal – lees stirring, ready to drink, complex, textured with a lovely briny finish. 
  • Xarel-lo Pairal 2020 by @canrafolsdelscaus. Made in chestnut barrels, oxidative notes of bruised apple, cake spices and a long mineral nutty finish. 
  • Lluna Nova Xarel-lo 2017 by @BodegasPinord. Biodynamically made, fermented in French oak with lovely integrated toasty notes, preserved lemon, and a long briny, nutty finish. 
  • La Sinia 2021, by @Maset fermented and aged in acacia barrels with subtle oaky notes, ripe apple and peach. 
  • Refugi de @loxarel_vins  sparkling 100% Xarel-lo, partly fermented in oak barrel and cellared for around three years: toasty, ripe red apple, fennel, creamy texture and salty finish. 
  • 109 de Loxarel 2011. A crazy wine with aged for 109 months, undiscouraged i.e. Pet Nat: slightly cloudy lemon with flashes of gold, smoky, sea shells, coastal rock pools, nutty, hardly any autolytic notes in spite of the extended lees contact, creamy texture and persistent fine bubbles, intense and long pleasant bitter, salted almond finish. 

 I can see the gently oaked versions of Xarel-lo having wide appeal and the unoaked lees aged versions working well with food, richer sea food in particular. Cheers!


Leave a comment

Cloudy Bay Pelorus Brut NV, Marlborough, New Zealand

Cloudy Bay is best known for putting Marlborough Sauvignon Blanc on the map, but their traditional method sparkling wine, Pelorus Brut NV, quietly makes a case for itself with understated depth and impressive finesse.

Image by Cloudy Bay

In the glass, it’s a pale lemon hue with a fine, persistent mousse. The nose is bright and expressive, offering ripe orchard fruit, crisp apple and pear, alongside notes of preserved lemon and peach. There’s a gently smoky undertone that adds interest, and a familiar seam of biscuity, yeasty complexity that marks time spent on lees. Hints of roasted almond and honey round out the profile, lending the wine a mellow, almost autumnal edge.

On the palate, the wine is dry, with high acidity that gives a clean, defined structure. The flavours mirror the nose: juicy apple and citrus up front, followed by pastry, toast, and a subtle suggestion of honey and smoke. The mousse is creamy, well-integrated, and adds a tactile richness to the mid-palate. The finish is extended and precise, if not quite expansive.

This is a very high quality sparkling wine and in blind tastings I’ve confidently had it down as a Champagne. It offers clear varietal and stylistic character, a fine balance between fruit and structure, and a satisfying degree of complexity Pelorus consistently delivers more you’d expect as this price point.


Leave a comment

The Mediterranean Climate

I am sharing notes that I’ve made during my Diploma on these pages for anyone studying a formal WSET course or just interested in learning. 

These notes are absolutely not a substitute for the course books provided by WSET or indeed any other reference books. However I have found it helpful to condense information and present it visually in a way that tries to draw out the what, how and why that links things together or the similarities and contrasts that can help to make sense of everything.  These note are very much prompts to the memory rather than full or detailed explanations.

I am revisiting these notes over time to improve them and iron out the no doubt many inaccuracies and inconsistencies that they contain. However in the meantime please beware there may be errors and if you spot any do let me know.

The notes are free to down load are intended for personal use only all you need to do is sign up to our newsletter.