Our panel: Katarina Lange, Sommelier, Botanical Hotel; Christina Kaigg-Hoxley, Wine Development Manager, 67 Pall Mall; Andrew Wyse, Sommelier and Importer, Cardwell Cellars; Sacha Imrie, Sommelier, Daughter In Law; Luke Campbell, Director & Head Buyer, Vinified Cellar Management; Nicola Reid, Sommeliers Australia; Andrea Infimo, Head Sommelier and Beverage Manager, Marmelo; Victoria Pun, Consulting Sommelier.
With eight of the finest palates in attendance, we gathered every example we could find in Australia and set our expert panel the tasks of finding the wines that compelled the most. All wines were tasted blind, and each panellist named their top six wines. Below are the top wines from the tasting.
Chosen by Imrie, Campbell, Reid, and Lange as one of their top-six selections from the blind tasting, this Tempranillo was celebrated for its complexity and richness. Imrie described it as “perfect ruby in color, with a medley of dark red and black fruits—cherry, strawberry, plum, and blackcurrant—layered with floral notes, sarsaparilla, and pencil shavings.” She noted the wine’s balance and structure, saying, “It sits on the heavier side of medium, with well-handled oak, fine tannins, and fresh acidity supporting the palate. The savory umami character, with hints of autumn leaf, mushroom, and soy, elevates its appeal. The finish is long and deeply satisfying, leaving you wanting more.” Lange found it equally engaging, remarking on its “oak-dominant nose of graphite and pencil shavings, brightened by concentrated cranberry and cherry cola aromas.” She added, “Bay leaf, celery salt, and charred meat notes bring savory intrigue, while the palate’s concentration and length make this a wine to pair with rich stews or pasta.” Campbell, meanwhile, highlighted its vibrancy, describing an “explosion of mixed berries, cherries, and black jube vibes, with fennel and chinotto overtones.” He likened it to “a sophisticated Grenache,” ideal with spiced lamb koftas or a chickpea and chorizo tagine. Reid, charmed by its brightness, said, “Blueberry, raspberry, and rose petals make this jovial and approachable, while fine powdery tannins and lively acidity create a balanced, punctuated finish.”
A unanimous favourite, this Tempranillo captured the imaginations of Infimo, Wyse, and Imrie, all of whom included it in their top-six selections during the blind tasting. Infimo described it as “medium ruby with darker hues” and praised its “quintessential Tempranillo aromatics—ripe but firm red plum, dark cherry, and a sweet earthiness.” She noted the elegant oak integration, with “clove, vanilla, and cocoa” supporting the vibrant fruit, and celebrated its structure: “Succulent fruit flavours, structural tannins, and a bright acidity provide freshness and balance. This is complete and delightful now, but it promises even more with time.” Wyse found this wine utterly indulgent, calling it “a cornucopia of figs, dates, and cherry tomatoes.” He was struck by the palate’s velvety texture, where “luscious red fruit, vanilla cream, Earl Grey tea, and soft tannins” intertwine. For him, the wine was “positively decadent, bacchanalian even—perfect for charcuterie, antipasti, or a relaxed BBQ.” Imrie marvelled at the wine’s bold aromas, which she said were “desperate to reach you.” She described a symphony of “sweet blackberry, blackcurrant, bramble, and plum, mixed with heavy cream and a whisper of mint and eucalyptus.” She noted the wine’s smoky crushed graphite and fresh tobacco undertones, adding, “The palate offers a mouth-filling rounded texture balanced by drying tannins on the finish. The length is exceptional, and this is a wine to savor over hours, watching its personality evolve. An interesting, gorgeous wine.”
This vibrant and multifaceted Tempranillo was included in the top-six selections of Infimo, Wyse, and Kaigg-Hoxley during the blind tasting, highlighting its appeal as an exemplary Australian expression of the variety. Infimo noted its “good aromatic intensity with a clear new-world character,” describing a bouquet of “ripe wild strawberry, cherry, cola, red plum, and boysenberry” with a sweet herbal lift reminiscent of tarragon. She praised its “polished tannin structure” and “persistent fruit-laden finish,” calling it “true to the variety but distinctly Australian—this is what we want to achieve.” Wyse celebrated the wine’s sensory complexity, finding “juicy mulberries dusted with pipe tobacco” on the nose, followed by a palate of “almond blossoms, plums swimming in crème de violette, and rosewater tar clinging to fennel and celery seed.” He remarked on its “bouncy tannins” and suggested pairing it with game meats like duck or lamb kebabs, noting, “This is a very decadent wine for the table.” Kaigg-Hoxley focused on its darker elements, describing “a clean fruit spectrum of cassis and blackberry pastille, chewy black plum skin, and beef jerky.” She highlighted its “refreshing acid profile” and the “dusting of sweet coconut and baking spice” that balanced its richness. “On revisit, bramble notes and mocha characters emerged,” she observed, concluding that this wine is “a great showcase of Tempranillo’s ability to display both freshness and savoury characteristics in tandem.”
This Tempranillo earned its place as the top wine of the day for both Lange and Pun during the blind tasting, celebrated for its rich complexity and seamless balance. Lange described its aroma profile as “concentrated and rich,” with notes of “black Morello cherry, dark raspberries, dried rose petals, violets, and camphor.” She observed, “Hints of sarsaparilla and forest floor lend it an almost Barolo-esque character, with subtle tar and rose petal nuances.” On the palate, she found it “juicy, with elevated acidity balanced by a chalky tannin profile.” Lange commended the deft use of oak, contributing “graphite and pencil shavings” rather than overt vanilla or coconut tones. She concluded, “This is a serious and rich example of Australian Tempranillo that demands a char-grilled rib-eye steak to complement its tannin structure.” Pun was equally enamoured, describing “generous fruit notes with an almost jammy quality on the nose.” She noted its “juicy palate with hints of strawberry cream and black fruit undertones, rounded out by well-tamed tannins and herbal accents.” She praised the wine’s harmony, adding, “The cohesion of all these elements creates an enjoyable warmth and a wonderfully likeable expression of Tempranillo.”
A standout in the blind tasting, this Tempranillo was included in the top-six selections of Reid, Lange, and Pun, celebrated as a lighter, herbaceous expression of the variety. Lange highlighted its aromatic profile, describing “tomato leaf, fresh tomato paste, oregano, and dill,” balanced by “firm red and black cherries and cherry cola.” She noted the interplay of herbaceous and savoury tones with oak-derived “graphite and cedar.” On the palate, she found it “leaner and more delicate compared to other examples,” with tannins that, while powerful, avoid dominating. “This would pair beautifully with prosciutto or Jamón Ibérico, complementing the delicacy of cured meats,” she recommended. Reid admired its floral and fruit-forward bouquet, calling it “a beautiful mix of violet, lavender, and rose, with red apple skin, plum, and blueberry.” She added, “An attractive hedgerow thread weaves in and out, finishing with savoury hints of balsamic, olive brine, and tomato leaf.” She praised the wine’s “firm, ripe tannins and fresh acidity” for creating a balanced structure. Pun celebrated its interplay of elements, describing “tart red fruit, autumn leaves, and a ripeness that remains bright and fresh thanks to its well-retained acidity.” She noted, “This wine’s brightness and structural harmony make it a compelling and dynamic example of Australian Tempranillo.”
Chosen by Kaigg-Hoxley and Infimo as one of their top-six selections from the blind tasting, this Tempranillo stood out for its elegance and complexity. Infimo was captivated by its “very elegant bouquet,” describing “red flowers like rose petals and poppy, a herbal fresh spice tone, sloe berry, and fennel pollen, with a whiff of white pepper.” He noted the fruit’s clarity, highlighting “raspberry, cranberry, and plenty of red cherries.” On the palate, he found it “medium-bodied, with mild austerity and a refreshing tightness,” complemented by “long-chained tannins that suggest a slow and gentle infusion.” He concluded, “Refreshing acidity and great length make this a truly good wine.” Kaigg-Hoxley was similarly impressed, describing the wine’s peppery character as unforgettable: “Something about the pepper profile stayed with me as we tasted through the rest—it’s quite a feat.” She highlighted the “dark intrigue” of its “sandalwood, green peppercorn, and violet characters” on the nose. The palate, she noted, offered “great complexity with black plum and figgy sweetness, alongside a moreish pastrami element that kept me coming back.” She praised its structure, saying, “The palate is remarkably light on its feet for how much is going on, yet super concentrated. It stayed a favourite throughout my revisits—it’s a winner for me.”
Selected by Pun and Imrie in their top-six wines from the blind tasting, this Tempranillo made an impression with its distinctive character and lively complexity. Imrie described it as “medium ruby, with a hint of bricking at the rim.” She noted its “lifted aromas of sweet black cherry, blueberry, blackcurrant, and orange-zested cream,” alongside a quirky limey element reminiscent of “lime éclairs” and “bergamot tea.” On the palate, she found it “medium-bodied with firm, ripe tannins,” offering “meaty flavours of fig paste and cured meats” and finishing with a pronounced spiciness. Pun appreciated its dark floral and fresh black fruit aromatics, describing it as having “optimal concentration on the palate.” She highlighted its textural balance, noting, “The tannins are well-moderated, adding to the mouthfeel without overwhelming.” The wine’s spice complexity stood out for her, with “liquorice, star anise, clove, and nutmeg” bringing depth. She concluded, “This is a light-hearted wine that nonetheless delivers layers of intrigue and complexity.”
A popular choice during the blind tasting, this Tempranillo was included in the top-six selections of Pun, Infimo, and Campbell, celebrated for its vibrant character and structural finesse. Infimo noted its “medium ruby hue” and initially “gun flint” aromas, suggesting healthy reduction. He described “ripe but fresh and clean fruit” such as “boysenberry, plum, and cherry,” evolving into “mildly toasty oak spices” and a “prickly fig leaf-like note” lending a Mediterranean feel. On the palate, he found it “relatively dense, with a solid core of fruit and good-quality oak.” He highlighted its ripe, supple tannins, saying, “They release the well-defined fruit—plum, cherry, and Royal Gala apple skin—before finishing on an earthy note.” Campbell found the wine to be bursting with personality, describing “distinct bubble gum and cherry notes with red apple skin and crushed raspberry.” He added, “This wine sits lightly in the crunchy red fruit spectrum, offering bright crushed raspberries, rhubarb, and vanilla spice alongside beef stock and bright acids.” His verdict? “Give me a night on the tiles and some tacos—this is a one-way ticket to flavour town. Toot toot!” Pun praised its “juiciness and plumpness,” reflecting “sun-kissed black fruit.” She admired its evolving palate, noting, “Spices and vegetal notes emerge, adding a savoury complexity.” She concluded, “Chalky tannins offer grip and backbone without overwhelming, consolidating a harmonious and exuberant Tempranillo.”
Selected by Reid as one of her top-six wines from the blind tasting, this Tempranillo captivates with its elegance and finesse. Reid admired its “tension and fine balancing act,” showcasing both structural precision and a dynamic flavour profile. The wine opens with “subtle seduction,” revealing aromas of “dried lavender, blueberry, pomegranate, and damson plum skins.” Beneath these layers lies a “fresh herbaceous charm,” featuring “pine needles, sage, and thyme.” The palate reflects this engaging complexity, with “chalky tannins and fresh acidity” seamlessly framing the flavours. Reid concluded, “This wine’s personality shines through in its long, lingering finish—a beautifully crafted Tempranillo that leaves a lasting impression.”
Included in the top-six selections of Kaigg-Hoxley and Pun during the blind tasting, this Tempranillo is celebrated for its evolving complexity and food-friendly nature. Kaigg-Hoxley described it as a wine that “screams food,” embodying everything they look for in Tempranillo. “The fruit profile oscillates between red berries and darker, plummy things,” they noted, adding, “The nose takes a while to open up and changes every time I come back to it—I love that it doesn’t give away everything at once.” Distinctive elements of “mushroom, chewy tobacco, and meaty moments” kept them intrigued, making it a wine to savour over time. Pun found the wine lively and engaging, noting its “elevated concentration and an abundance of ripe strawberry and sour cherry.” She praised the balance of structural elements, highlighting “well-retained acidity and pleasantly grippy tannins.” The savoury character, she added, “makes it an excellent companion to food, adding to its versatility and charm.”
Selected by Campbell in their top-six wines from the blind tasting, this Tempranillo is a bold and captivating expression of the variety. Campbell was struck by its “bold aroma spectrum,” describing how it “leaps from the glass” with “cut meats, cloves, nutmeg, and black bean aromatics—love it!” On the palate, the wine delivers a harmonious balance of juiciness and savoury complexity, with a “juicy yet savoury mouthfeel and the faintest lick of acid that keeps you reaching for more.” Medium-bodied with a Sangiovese-like texture, it showcases “complex old-world flavours of white pepper, cut tulip, red toffee apple, and chorizo,” building into a “complex flavour wave.” Campbell concluded with high praise, saying, “So much is going on here, and you want more in your glass. This is pure Tempranillo, deserving of a pedestal—just like Auguste Rodin’s ‘The Thinker’!”
Imrie selected this wine in his top-six wines from the blind tasting, describing it as “super pretty,” like “a bunch of fresh flowers, daisies, and roses—fresh and fragrant.” With a fruit profile sitting “mostly in the red spectrum,” he noted “red cherry, strawberry, raspberry, and a touch of blue fruit like fresh mashed blueberry pulp,” complemented by a subtle creaminess. Imrie found the palate an intriguing contrast to the dreamy lightness of the aromas, starting with a “rounded jubbiness” before flipping to a “more grounded savoury flavour spectrum” with “really nice grippy tannins” and notes of “berry plant leaf, raspberry tea, pepper, and smoked cherry.” He praised the “fragrant, lifted finish,” adding, “This wine held my attention longer than it should have—I looked up, everyone had finished the bracket, and I was still on my second glass. I guess that’s a good sign!”
Lange included this wine in his top-six selections during the blind tasting, describing it as “a sanguine and almost feral example of Tempranillo” with “ironstone, crushed granite, and fresh offal” aromas that create a captivatingly bold profile. He highlighted “dark cherry and vanilla aromas” with an “intriguing note of rosewood and rosehip oil,” while almond paste hints at the influence of French oak. Lange found the wine’s “powerful tannin profile and red tea leaf characters” to beautifully counter the “delicate sweetness induced by the wood.” On the palate, the wine is “fresh and vibrant, showcasing dark Morello cherry flavours and a saline streak reminiscent of charred meats.” He compared its structure and aroma profile to “an Echezeaux or powerful Vosne Romanée, albeit less complex than the top examples from Burgundy,” and recommended pairing it with a chargrilled steak to complement its robust character.
Infimo selected this lively and vivid wine in his top-six picks from the blind tasting, describing it as “hi-toned, with lovely intensity on the nose” and aromatics that evoke “a specific winemaking style, quite possibly carbonic.” He noted “classic bubble-gum and violet petals, confected but elegant, with macerated blueberries, cranberries, and cool, refreshing stems.” On the palate, the wine is “jumpy and vivacious, very primary but with great definition.” Infimo highlighted its “crunchy, pleasantly chewy tannins” and “lovely acidity that aligns with the fresh fruit flavours,” concluding that its length and balance reflect perfect timing and execution in both harvest and winemaking. “A successful carbonic example,” he declared.
Selected by Campbell in his top-six wines from the blind tasting, this Tempranillo is, in his words, “dead-set joy in a glass.” Campbell described its whimsical and exciting nature, likening it to “jumping off a roof onto a trampoline and not knowing where you’ll end up—pure excitement.” He noted its “cut dill pickle and fairy floss nose,” complemented by its “reddish-pink colour and chocolate flavours.” While he acknowledged its simplicity, he celebrated its “musk lollies, Old Gold chocolate, herbaceousness, and crunchy, fleshy fruit juice.” For Campbell, this wine is as versatile as it is fun: “Perfect slightly chilled at a picnic or alongside a decadent antipasto platter.”
Selected by Pun in her top-six wines from the blind tasting, this youthful and delicate Tempranillo manages to be utterly moreish. Pun described it as offering “an impression of sage, autumn leaves, black tea, dried prune, and sour cranberry,” all seamlessly layered with the wine’s structural elements. She noted how these components work “hand in hand,” creating a harmonious and captivating expression of the variety.
A favourite of both Campbell and Infimo in the blind tasting, this medium- to full-bodied Tempranillo impressed with its complexity and structure. Campbell highlighted its “pale red colour” and aromas of “earth, tomatoes on the vine, and red strap liquorice,” calling it a “Cabernet look-alike” with “tobacco and leather vibes.” On the palate, he found “black pastille, roasted vegetables, and cedar” unfolding into “lip-smacking savoury goodness.” Campbell envisioned it pairing perfectly with “Spanish-styled pork ribs or a grilled tomahawk steak with fresh chimichurri.” Infimo noted the wine’s initial restraint, describing it as “coiled and compact,” with aromatics of “sage and fresh oregano” alongside “fresh and crunchy blueberry, red and black plum, cherry, and blackberry.” He praised its “muscular tannins” and “medium-plus acidity,” observing that while elegant now, its “latent energy” will allow it to shine further with additional bottle age.
Included in the top-six wines of both Imrie and Reid, this Tempranillo combines detail, density, and marked freshness. Reid admired its “defined notes of plum, morello cherry, cola, and earthiness,” with a “slight sarsaparilla bitterness toward the finish.” She noted how these flavours “crescendo until the fine powdery tannins resolve beautifully.” Imrie praised its delicate pale ruby appearance and aromatic layers of “smouldering red fruits—strawberry, cherry, plum—balanced with herbs, blueberry, and cola float.” She found the palate “mellow yet energetic,” offering “leafy, earthy, forest floor, and tobacco pouch notes” alongside “red cherry, sweet spice, vanilla, and poached plum.” The wine’s “lively acidity” struck through the complex flavours, and Imrie concluded that it “continued to impress on revisits throughout the day.”
Wyse selected this wine in his top-six picks during the blind tasting, describing it as “really exotic and totally unique, with great depth and canyons of flavour.” He admired its “perfume of damask rose, clove, pimento, and Moroccan hash,” and a palate that “unfolds with red plums bathed in orange blossom, fig leaf, and cherry tomatoes.” Wyse highlighted its energy, noting how it “carries effortlessly into a long, refined finale referencing bonded leather and maple syrup.” He recommended pairing it with “pork or beef, slow-cooked with jus and grilled vegetables,” or even Afghan mantu dumplings in yoghurt sauce.
Another of Wyse’s top-six selections, this Tempranillo impressed with its “lithe and sophisticated bouquet featuring tarragon, aniseed, and celery.” He noted the palate’s “red currants, cherry tomato, and pomegranate,” culminating in a finish that “arrives late with a big crescendo of silky sweet paprika, lingering vetiver, and whiffs of tobacco.” Wyse admired the “tidy, deft balance of savoury and fruit character,” declaring it perfect for food. He suggested pairing it with “pork belly, Char Siu, crispy pork, smoky eggplant, or Lanzhou noodles.”
Kaigg-Hoxley chose this dark and brooding wine in her top-six selections, acknowledging it took time to reveal its charms. Initially closed, it quickly opened up to showcase “black fruit and brambly, broody elements” with notes of “graphite, hot pepper in the pan, leather, black cherry, and smoky spice.” She praised its “super moreish” character and “pleasantly chewy finish,” making it a standout among her favourites.
Selected by Reid in his top-six wines, this distinctive Tempranillo stood out for its “notable umami and savoury character” underpinning a vibrant fruit core. Reid described “olive brine, pickled mushroom, wild shrubs, beetroot, and tomato leaf,” balanced by “morello cherry, damson plum, pomegranate, and bramble berries.” The palate featured “earthy tannins and a lovely acid line,” leading to a “nicely weighted finish” that made this wine particularly memorable.
Selected by Wyse in his top-six picks from the blind tasting, this Tempranillo impressed with its finesse and thoroughly modern expression. Wyse described its savoury aromatics of “celery and tomato vinegar” alongside “very tart berries, sarsaparilla, red currants, cranberry, and rosehip jam.” He highlighted the mid-palate activity, with “fruit and tannin swirling and little explosions of blood orange acidity,” leading to an “extremely fine, elegant tannin structure and a very long finish.” Calling it a “sleek and thoroughly Australian expression of the grape,” Wyse suggested pairing it with “a rib-eye, wagyu steak or burger, or even Pho with sliced beef for a mid-week meal.”
Kaigg-Hoxley selected this wine in her top-six from the blind tasting, praising its “softness and elegance.” Initially shy, the wine opened to reveal “vanilla and bright plums, fresh blackberry, and cool baking spices with anise dominating the profile.” She admired its “prettier fruit spectrum” and the interplay of “soft, sweet oaken spice,” describing the wine as “really easy to drink, with a nicely integrated structure and good restraint.”
Lange chose this as one of her top-six wines, finding it to be “another serious wine with strong oak influence dominating the initial aroma profile.” She noted layers of “blood orange rind, camphor, sandalwood, and dark cherry,” where the citrus brought “a refreshing lift against the cedar and nutmeg from the oak.” Lange recommended decanting to allow the wine’s more delicate characteristics, like “grapefruit blossom,” to emerge. On the palate, she found the tannins initially dominant but softening towards the finish, which showed “bergamot, Earl Grey tea, and sandalwood.” For pairings, she suggested “roasted duck or grilled porchetta.”
Imrie selected this bright and approachable joven style Tempranillo in her top-six from the blind tasting, calling it “a really enjoyable early-drinking wine with a large personality.” She described its “bright ruby colour” and floral freshness, with aromas of “dark cherry, plum, blueberry, and dark chocolate.” On the palate, she noted its “plump texture that holds a ripe spectrum of fruit and pepperiness, met with juicy acidity.” The wine’s “bright red and blue fruit flavours” led to a “fragrant finish,” making it a standout for immediate enjoyment.
Reid selected this energising Tempranillo in her top-six wines from the blind tasting, describing it as “an inviting wine with vibrant aromas of blood orange, raspberry, morello cherry, red liquorice, and caraway seed.” She noted how these vibrant notes “flow beautifully through to the palate,” supported by “ripe tannins and refreshing acidity.” Reid concluded that its “persistent finish” makes it a standout expression.
Selected by Kaigg-Hoxley in her top-six wines, this Tempranillo stood out for its joyful complexity. She described its fruit profile as “a mix of ripeness levels, creating a diverse spectrum of black plum, mulberry, and raspberry seed, with hints of fennel and pleasant fruit sweetness alongside fig elements.” Kaigg-Hoxley admired its “juicy yet powerful” palate, noting its “meaty structure on the finish,” and concluded that the wine’s “open and agreeable nature” delivers “hedonistic and joyful elements.”
Wyse selected this muscular and commanding wine in his top-six from the blind tasting, calling it “a wine that speaks more of Australia than traditional Tempranillo—and that’s fine!” He described “dried figs, blood plums, and dates sealed with wax in a cigar box,” with a palate that remains “fresh and inviting despite its gritty texture and tannins.” Wyse praised its gravitas, noting the “dusty fruit radiates presence, wisdom, and sagacity,” and recommended pairing it with “Birria tacos, roast beef or pork, or chorizo paella.”
Lange chose this concentrated and meaty Tempranillo in her top-six wines, describing it as “one salty example of what Tempranillo can be.” She noted aromas of “salted beef, beef stock, bone broth, and spent campfire embers” alongside “celery salt and dried bay leaves.” The fruit profile of “firm black plums” remains in the background, while secondary aromas of “red wine jus” add richness. Lange highlighted its “focused tannins, balanced alcohol, and acidity,” with flavours of “camphor and bitter orange peel” emerging on the palate. She suggested pairing it with “pastrami rolled in toasted fennel seeds” to complement its bold aroma profile.
Campbell included this juicy and rustic wine in his top-six wines, describing it as “darker in colour with a fragrant nose of red roses and a bouquet garni of herbs and spices.” The palate offered “subtle, sweet notes of cherry cola, coffee, and dill,” creating a “slurpable, juicy wine” perfect for pairing. Campbell recommended enjoying it with “spiced seafood, hard cheeses, or a tomato-based pasta like Amatriciana.” He concluded enthusiastically, calling it a “yummy, food-friendly wine” with a “rustic, fruity charm.”
Tempranillo literally translates as “little early one” (temprano means early), with the vines budding late and the grapes often ripening two weeks earlier than other Spanish red grapes. This early ripening (something generally associated with cool climate grapes) sits at odds with the casual view of Spain being hot – and by default Spanish wine regions – that seems to be forged by an image of a sun beating down on cracked red earth, a matador death-dancing in the dust with a bull. It’s a cliché, for sure, but it seems pervasive for many.
But Spain is far from homogenous, with a great variety of climatic conditions, and the same can be said for its wine regions, from coastal to continental to distinctly mountainous, and from baking hot to distinctly cool.
Tempranillo is grown throughout the country, being the most planted and most cherished red grape, but it is in Rioja and Ribera del Duero in the north that it reaches its greatest heights. And while those regions certainly have some quite hot conditions, especially Ribera, with Rioja relatively mild, there are also meaningful high-altitude plantings in both over 700 metres, and even over 900 metres in Ribera, translating to cooler days and often chilly nights.
“When you look at where the best tempranillo vineyards are in Spain, they’re in higher rainfall and higher altitude sites. It’s not a warm region variety, which was the assumption everyone made in the early 2000s.”
Additionally, Ribera has a combination of a Mediterranean and continental climate, with hot days in the less-lofty sites moderated by quite cool nights, which helps to retain fresh flavours and acidity in the grapes. Tempranillo’s acid can drop off substantially in the heat, but it generally tolerates warmer conditions reasonably well, building flavour and thickening skins to provide colour and tannic structure to the finished wines.
It’s also important to note that tempranillo is used in both Rioja and Ribera del Duero as a blending grape, though largely as the majority partner. That was not always the case, with Rioja having more garnacha (grenache) than tempranillo planted in the 1970s (39 to 31 per cent), though the tables have well and truly turned, with a current dominance at about 80 per cent. Graciano also plays a small but important role there, with the high-acid variety bolstering tempranillo’s typical deficit, while garnacha adds fruit weight and richness.
Ribera’s fortunes have been a much more modern affair with much of the vineyard expansion happening relatively recently. In fact, there were only nine wineries in 1982 when DO (the legal appellation control) status was accorded. Today there are over 300 wineries under that DO, with some 22,500 hectares planted, which is still dwarfed by Rioja’s 64,000 hectares. Ribera has also long had a foundation of blending with Bordeaux varieties, though today in increasingly smaller amounts, with varietal tempranillo increasingly common.
It is hard to generalise about the style of the wines from the two regions, such is the variety of localised climate and conditions. But in broad brushstrokes, the wines of Ribera tend to more fruit density and concentration, while the wines of Rioja tend more to red-fruited midweight styles, with notable savoury detail. Historically, wines for Rioja were aged in American oak for lengthy periods (3 years for Reserva and 5 for Gran Reserva) producing wines that were marked by both sweet fruit and spice along with earthy, leathery tones, but there is more of a middle ground with modern Ribera and Rioja, leaning on fruit purity, and often as straight tempranillo, with soils and climatic nuances speaking most loudly.
Tempranillo is also an important, though less prevalent variety in Portugal, under the main synonyms tinta roriz and aragonez. It is one of the five key varieties in Port, while it also contributes to table wine blends in the Douro and Dāo Valleys, Alentejo and other regions. It is well represented in South America, particularly Argentina, and has been in the USA since the start of the 20th century, though quality production is a relatively recent thing.
Globally, tempranillo has had the biggest growth of any variety since 2000 – more than shiraz/syrah, more than cabernet sauvignon. But unlike those grapes, tempranillo’s rise has been almost solely in its homeland, with Spain’s plantings increasing by almost 115,000 hectares to 2016, while only another 10,000 hectares are claimed by the rest of the world combined, with Australia accounting for a relatively modest but nonetheless meaningful portion of that growth.
In Australia, with nearly 750 hectares of tempranillo planted up to the 2019 vintage, the grape has more than a decent foothold (that’s some 300 hectares more than sangiovese, which presents as a more established alternative variety in this country). Ten years earlier, that figure was 350 hectares, so it’s more than doubled in just a decade, and it is planted across many regions, from the arid to the notably chilly. But it’s fair to say that the grape’s rise here has not been a quick one, with its presence first documented over 100 years ago.
“There’s a real opportunity to raise the bar as the new clones start to come out, to make some really serious styles.”
When François de Castella was appointed Victorian State Viticulturist in 1907, one of his main tasks was to revitalise an industry that had been crippled by phylloxera. And perhaps no more impactfully than in Rutherglen, where very successful commercial vineyards had been all but wiped out by that time.
De Castella, who had trained in Switzerland, toured Europe in search of suitable vines for the often-harsh Australian climate – a project that is being mirrored today, with climate-apt varieties a strong focus for growers, especially in warmer zones where traditional varieties can now struggle. Those propagated cuttings were then grafted onto American rootstocks, which are resistant to the vine louse.
That collection of vine material, brought home to the Rutherglen College in 1908, famously brought durif to the region, but De Castella also imported tempranillo. While durif became synonymous with Rutherglen, tempranillo never got a notable foothold, or at least a documented one, and the economic slide that quickened into the Great Depression and two world wars, coupled with a declining interest in table wines, seemed to erase what tempranillo there was.
Mark Walpole is one of the modern champions of the grape, as well as being one of the country’s most respected viticulturists. When he took an interest in tempranillo it was as a young viticulturist at Brown Brothers in the 1980s. With Graciano well established in the Brown Brothers vineyards (another legacy of De Castella’s collection), Walpole thought it logical to source some tempranillo to blend with. That search took him to the Hunter Valley, where he was just in time to rescue material from what may have been the last established planting in the country.
“We got the cuttings from a vineyard in the Hunter that was ripping it out because they said it didn’t work there, and we grafted up enough to plant about an acre,” he says. That vineyard was planted with the help of Walpole’s brothers in Victoria’s Alpine Valleys, part of a 16-hectare planting focused on alternative grapes, including a nursery block of some 60 varieties.
The vineyard in the Hunter, Denman Estate, had the only registered plantings of tempranillo at the time, which Walpole believes would have been based on vine material from California’s Davis University, rather than De Castella’s much earlier importation. There was some material imported to Merbein, Victoria, in 1964, then two clones from UC Davis in 1966 and ’71, and while the single clone at Denman has not been verified, Walpole circumstantially believes that it is most likely one of the two US-propagated clones.
Walpole’s first viable crop was in 1991, with the fruit contracted to Brown Brothers. Catching the eye of the fortified maker at the time, the grapes ended up in ‘port’ bottlings, with it not being made into a table wine until 1996 with a small cellar door release – this country’s first acknowledged varietal bottling. That first tentative step was enthusiastically received, with Brown Brothers encouraged to commit to a vineyard in Heathcote, as well as Walpole extending his family holdings.
Erl and Ros Happ also planted the grape in Margaret River in 1994 – along with 27 other less-familiar French, Italian and Spanish varieties. That material was obtained from the Western Australian Department of Agriculture, which is the same clone imported in 1964, otherwise known as the Requena clone, as it was sourced from Requena in Valencia, where tempranillo is a minor grape.
Viticulturist Lee Haselgrove, worked with that same clone in his former role at Frankland River’s Swinney vineyard, as, at that stage it was the only one available locally. “It’s a bit like the upright clone of pinot noir,” he says. “You think it’s okay until you taste 115 or 777 [pinot noir clones]. You’ve got to work really hard to get tannin and character into it. If you haven’t got great genetics, you’ve got to work really hard to get a good result.”
Swinney’s 2.5 hectares are trained as bush vines, an uncommon site for tempranillo in this country, but it’s yielded striking results. “It’s really hard to grow when young,” Haselgrove reflected, noting that with time the free standing bush vines found really good shape. “It’s hard work as a bush vine, but it’s the best tempranillo fruit I’d grown.”
For Prue Henschke, the material they planted from UC Davis in their Eden Valley vineyard in 2003 was originally intended as a pivot away from the full and rich red styles of the day to more savoury wines, but a deepened familial interest in the grape (one of Prue and Stephen Henschke’s daughters-in-law is Spanish, with a family connection to a Ribera producer) saw her dig deeper. A dissatisfaction with the high-yielding vines led Henschke to investigate importing their own material. Along with a couple of Adelaide Hills growers, they sourced new material, with it cleared from quarantine in 2012.
That importation consisted of three clones – selected with the help of a Spanish winemaker and researcher who had worked with the Henschkes in 2008 – and the results are looking promising, though Henschke stresses that the vines are still very young, with only a small portion of fruit making it into the wines over the last handful of vintages.
“We’re seeing a much better bunch structure,” she says, “without the huge yields, or rather the huge variations in yields, we see with the Davis clones. The old clones are very vigorous, huge leaves the size of dinner plates, there’s such a difference. And the flavours are really good, with that lovely, savoury prune character. It’s more tempranillo-like, where one of the old clones has an incredibly floral overtone – it’s really interesting to see the difference.”
For Haselgrove, picking decisions are just as important as the viticultural approach. He recalls in his time at Swinney, his harvest time was dictated by working closely with their contract customers, who all have differing opinions, meaning the harvest occurs over a two-week period, longer even. “My personal preference is for the earlier picks,” he says. “They’re much fresher and brighter. The later picks tend to be more dry-red-like. When it’s just ripe, it’s about 12 and a bit [potential alcohol]. Andries [Mostert, Brave New Wine] and [A.J.] Hoadley [La Violetta], that’s when they pick it, and it’s really delicious. As he won’t add anything later, Andries only picks on acidity, rather than waiting for some point in the future when the tannins are ripe, or something like that.”
An acidity deficit is a perpetual issue when growing and making the early ripening variety. “The variety’s naturally low acidity and high pH make winemaking a challenge even in cooler regions,” says Walpole. “As well as only having three to four grams of acid at harvest, half of this is malic. So, [acid] additions of up to five grams per litre either at the crusher or during fermentation are not uncommon.”
Those additions are to avoid microbial/yeast spoilage and to avoid adding acid to the finished wine, but Walpole notes that much of it precipitates out during fermentation. But the new clones, which Walpole has planted some of at his Fighting Gully Road Vineyard in Beechworth, are proving to be a different proposition.
“There’s quite a remarkable difference,” he says. “We’ve only had our first crop off the ones through the Yalumba Nursery this year, but they are very, very different from the old, original Davis clone… far more structure, much more tannin… and even visually as a vine. We’ve found a massive difference with lower pH and much better acidity, and retaining it as well. With one particular batch, we didn’t add any acid to it at all.”
Walpole sees the newer clones as being more successful in warmer zones, but equally as apt for cooler regions, like his. But he also notes that the old clones already perform well enough when managed properly. “When you think of Spain, while most good examples come from Ribera or Rioja at higher elevation, the variety clearly grows well across a huge range of climates and seems to do well,” he says.
Henschke takes a firmer line. “When you look at where the best tempranillo vineyards are in Spain, they’re in higher rainfall and higher altitude sites,” she says. “It’s not a warm region variety, which was the assumption everyone made in the early 2000s.”
“I think we can definitely say where it doesn’t perform well, and that is anywhere wet or on deep soil; it needs some conditions to temper the growth and berry size,” says Walpole, noting that controlling vigour and yield are key quality drivers, with clone, site and management all key to making high-quality wine.
The suitability to site is a critical one, and it’s something that Raquel Jones of Beechworth’s Weathercraft spent much time deliberating over. “I looked at clones from Toro and Rioja, as well as Ribera,” she says. “It came down to our specific site, to our rainfall and daily temperatures. So, we tried to match it as best as possible. I worked with Nick Dry from Yalumba Nursery at the time, and we worked down from about six clones to four, then the three from Ribera that I grafted.”
Jones even travelled to observe the performance of the clones in Ribera de Duero. “I’ve been very fortunate to taste those clones in situ overseas,” she says, “and they are very different here in Australia. And that’s the thing about tempranillo: stylistically it’s very diverse. We have very different soil types across the vineyard, so I chose the clones based on vigour and how well they worked under pressure from the local conditions. It’s been very interesting to see how they have grown and how the express in the winery.”
While tempranillo has established itself already, there is little doubt for Walpole that the future growth of the Australia market and its enhancement as a quality grape is anchored in this experimentation of new vine material in different sites. “There’s a real opportunity to raise the bar as the new clones start to come out, to make some really serious styles,” he says.
“I think it does have a home here in Australia,” agrees Jones. “I think a lot of people don’t know how to grow it, and I know I’m still learning about it. There’s definitely potential for some really high-quality tempranillo here.”
Our panel: Katarina Lange, Sommelier, Botanical Hotel; Christina Kaigg-Hoxley, Wine Development Manager, 67 Pall Mall; Andrew Wyse, Sommelier and Importer, Cardwell Cellars; Sacha Imrie, Sommelier, Daughter In Law; Luke Campbell, Director & Head Buyer, Vinified Cellar Management; Nicola Reid, Sommeliers Australia; Andrea Infimo, Head Sommelier and Beverage Manager, Marmelo; Victoria Pun, Consulting Sommelier.
“This is a massive improvement from three years ago when I did this very same Deep Dive.”
“This is a massive improvement from three years ago when I did this very same Deep Dive,” declared Andrea Infimo, kicking off the group discussion.
Luke Campbell reflected on the current commercial history of tempranillo plantings in Australia, which only began in the 1980s. “In a spectrum like this,” he said, gesturing to the blind lineup of wines, “it shows how far tempranillo has come in a relatively short amount of time.”
Campbell continued, “I was surprised that there were not more bright, crunchy, fresh, joven styles in this Deep Dive. Nevertheless, there were some standout wines here – the winemakers have gotten the wrestle right, between ripening, acid, savouriness, and oak use.”
Infimo agreed: “I feel some producers are finding the right balance regardless of the style. There was one that was evidently carbonic, and it was perfectly managed – it had great intensity; it had structure, without necessarily the support of new oak that this variety often requires,” he said, before mounting his case that tempranillo needs ‘structure’ and oak.
“There’s a relatively recent trend with sommeliers preferring wines that are more fruit-driven – that are showing more ‘purity’ – as opposed to wines that are showing more oak. With regards to tempranillo, I’m very much the opposite. I tend to prefer wines that are complemented by good-quality oak and have that intensity of fruit where tannins play a key role. Good tempranillo needs good-quality oak, but it needs to be backed up by fruit intensity, tannins, and well-managed acidity. It’s never going to be a high-acid variety, but if it has that backbone of acids and those structural tannins, complemented by good-quality oak, you can make a good tempranillo. There were a couple of wines in the lineup today that were this complete.”
“There’s a relatively recent trend with sommeliers preferring wines that are more fruit-driven – that are showing more ‘purity’ – as opposed to wines that are showing more oak. With regards to tempranillo, I’m very much the opposite.”
Sacha Imrie concurred: “The oak spectrum of the wines today was really interesting. As you said, the brighter and fruit-forward styles are very popular right now, but I think the most successful wines here today had more oak support and structure.”
“Yeah, I agree with that,” said Nicola Reid. “Definitely, in terms of capturing the tannin, I think it’s so critical with tempranillo. It’s such an amazing variety in that it’s a great carrier of ‘terroir.’ Obviously, as we’ve seen today, there are these beautiful youthful, ‘joven’ styles that are so approachable and easy drinking, but it can garner complexity – and I think the lineup really demonstrated that today.”
Reid continued, “But I think the most challenging thing – and I think the lineup demonstrated this – was harnessing those chalky tannins while also capturing the fruit profile. There were actually only very few wines that harnessed that completely, and those were certainly the ones that I awarded.”
“I think a combination of managing ripeness and also those acids is a really top call,” replied Campbell.
“What you guys are saying with acidity is definitely on point,” added Katarina Lange.
Lange then referred to tempranillo wines with structure and oak usage as “ambitious” expressions of the variety.
“I think there are more ambitious styles this year compared to the last Deep Dive three years ago. There is still a very good representation of ‘joven’ styles that are not too risky,” replied Infimo, before pondering: “Maybe it’s in line with the age of the vines?” He suggested that we might be seeing winemakers with young vines deciding to “make a younger, more joven, approachable, youthful style of wine to be drunk earlier.”
Infimo then added, “I think the next challenge for tempranillo in Australia will be to find each region where the variety can actually become the specialty.”
“There’s no benchmark region, as you say, in Australia,” concurred Christina Kaigg-Hoxley.
“There are very few benchmark regions outside of Spain,” noted Andrew Wyse.
“We’ve just tasted through a lot of tempranillo,” continued Kaigg-Hoxley. “While I’m sure we’ll come up with very different favorites, everyone could immediately agree on the fact that ‘balance’ was the key definer – and oak and acidity played a big role in that.”
“Also aromatic complexity,” added Wyse. “That was one of the big pluses of the entire tasting. Every wine had some kind of distinctive aromatic intensity that smelled of the place. There were a lot of aromatic notes that were not varietal, which I found really surprising.”
“That’s the thing with New World and Old World comparisons,” said Lange. “You find these things that you never thought were possible. You have this idea from the Old World of what it is, where it’s from, and what the style is, and then you try something from a region like Beechworth or the Riverland and you’re like, ‘What’s this?!’”
Kaigg-Hoxley then turned back to the conundrum of market demands and winemaker ambition. “The trend at the moment is those lighter, destemmed, prettier, more youthful styles. There’s a lot to be said for those varieties being quite consumer-friendly right now. I think winemakers working with tempranillo really have to dig their heels in and be passionate about it – about what they’re doing and what they want their wine to look like.”
Campbell shifted the focus to consumer interest in tempranillo. “We always position it to our customers on the retail side as somewhere between sangiovese and cabernet,” he said. “If they’ve had sangiovese and enjoyed it, then you can kind of open the door into tempranillo because it still has that medium weight; it’s never going to have those massive acids. If they want something to age – medium-term cellaring or whatever – it’s in that sangiovese kind of category. Sangiovese is probably a bit more well-known now – people can pronounce it, people can almost spell it – and tempranillo is kind of a little bit behind it.”
Wyse added, “Tempranillo in Australia is such good value!”
“I couldn’t agree more,” replied Campbell. “You took the words right outta my mouth!”
Katarina Lange is the Head Sommelier at the Botanical Hotel, where she has managed an ever-growing wine list of 1,200+ labels since 2019. Lange began her wine career in 2013, working as a winemaker and vineyard hand at a small azienda agricola in Tuscany until 2017. After moving to Melbourne, she completed WSET Level 2 and earned her Certified Sommelier certificate through the Court of Master Sommeliers. Lange is captivated by the endless journey of wine, finding inspiration in every new vintage, region, and producer, with the opportunity for discovery and learning always unfolding.
Christina Kaigg-Hoxley is the Wine Development Manager at 67 Pall Mall in Melbourne, having recently returned from London where she was Assistant Head Sommelier at The Clove Club, Shoreditch. Kaigg-Hoxley previously worked as sommelier at Gimlet at Cavendish House, as well as Assistant Wine Buyer at Atlas Vinifera and Brand ambassador for Burch Family Wines. She is a recipient of the Sommeliers Australia Education Scholarship, a Wine Scholars Guild Educator, has a WSET 3 qualification and has worked vintages in the Yarra Valley and Margaret River.
Andrew Wyse has worked as a Sommelier and Wine Importer for ten years, cutting his teeth in the industry as a wine importer and educator with a specialisation in German and Austrian wines in Portland Oregon, he relocated to Melbourne in 2017. In 2022 he opened Cardwell Cellars, a wine shop and bar focused on geography and wine with Swiss Cartographer Martin von Wyss of vwmaps and worldwineregions.com. Today he imports wine from Central and Eastern Europe, with a particular focus on Austrian and Hungarian wines.
Sacha Imrie is the sommelier at Daughter in Law, Melbourne. She began her career at 14, working in her uncle’s restaurant, Hewat’s, in Edinburgh, while studying for a BA Hons in Sculpture at Edinburgh College of Art. During this time, she also completed the WSET Level 3 wine qualification and worked at a local French wine bar and bistro. Intrigued by Melbourne’s hospitality scene, Imrie moved there and never looked back. In Melbourne, she held roles with Bomba and worked as a sommelier and buyer for the McConnell Group, covering Gertrude St venues The Builders Arms, Marion, and Cutler and Co from 2015 to 2019. In 2019, Imrie, her husband, and their business partners opened Daughter in Law Melbourne, followed by Daughter in Law Adelaide in 2021, Pinky Ji Sydney in 2023, Bibi Ji Melbourne in 2024, and their newest venture, The Daughter’s Arms at Ovolo Hotel, opening this week. Imrie also has her own wine range, Hey Tomorrow, featuring winemaker collaborations in cask packaging. The project won the Victorian Premier’s Communication Design Award in 2022.
Luke Campbell, born and raised in the Hunter Valley, Luke’s formal qualifications come from WSET, he is certified by the Association de la Sommellerie Internationale (ASI) and has completed the Advanced Wine Assessment Course (AWAC) at The University of Adelaide. Campbell launched Vinified Wine Services, a cellar management business tailored to the private collector.
Nicola Reid teaches WSET Levels 2, 3, and Diploma at Prince Wine Store and serves as the Executive Officer at Sommeliers Australia. After earning a Politics and Spanish degree from the University of Bristol, she worked as a sommelier at Hampton Manor in the UK, before gaining her Yachtmaster qualifications and working on luxury sailing yachts across the globe. Nicola has completed four vintages as a Cellar Hand in England and Australia, and spent six years with The Spanish Acquisition, a leading Australian importer of Iberian wines. She is also a WSET Diploma graduate, awarded the John Avery Vintners’ Bursary.
Andrea Infimo grew up in Naples and arrived in Australia in 2013 as an environmental science graduate. What began as a sabbatical year led to a career-defining passion for wine while working at Movida Sydney. Following Movida, Infimo honed his skills at Sydney’s iconic 121 BC wine bar and with Annette Lacey MW at the Lotus Group. In 2018, a move to Melbourne brought him back to Movida, where he became Group Beverage Operations Manager and Head Sommelier for the flagship restaurant. Infimo completed his WSET Diploma in August 2022. In 2024, he takes on the role of Head Sommelier & Beverage Manager for the highly anticipated Marmelo restaurant in Melbourne.
Victoria Pun began her career as a speech pathologist but was diverted to the world of wine after a tasting in the Yarra Valley. Starting as a casual cellar door assistant in 2019, her interest deepened, launching a hospitality career that weathered the disruptions of the pandemic. Pun passed the Advanced Sommelier exam with the Court of Master Sommeliers in 2022 while working at Vue de Monde and was awarded the Sommelier Australia Education Scholarship the same year. She went on to work in the wine program at The Recreation Bistro & Bottleshop before transitioning to her current role as a Consultant Sommelier.
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