We interviewed Antony Rose, one of the judges of the third edition of Sud Top Wine, known as a wine and sake critic who contributes to a number of titles including Decanter and The World of Fine Wine.
Please tell us something about yourself: how did you become a wine expert and wine writer? In 1986 I became the wine correspondent of England’s new national newspaper, The Independent, after winning a wine writing prize in a Sunday paper, The Observer. Before that I was a lawyer, but I decided it was time to get a steady job. I left The Independent in 2016 after it went online (I like the printed word) and since then I have written two books, Sake and the Wines of Japan (I am a Sake nut) and Fizz! Champagne and Sparkling Wines of the World. I am a founding member of the Wine Gang, I also write for The World of Fine Wine and Decanter Magazine and for the past three years, I have been chair of the southern Italy panel for the Decanter World Wine Awards.
Do English people know enough southern Italian wine? If so, what is in your opinion the most popular one? And why? Good question. No, I don’t think by and large English people know that much about the wines from Italy’s south. When they think of Italian wine, most consumers who know their wines tend to think of the so-called ‘classics’ of Piemonte, Tuscany and, to lesser extent, Veneto. The less well-heeled consumer generally is likely to go for names like Pinot Grigio, Soave, Valpolicella, Frascati, Chianti and Lambrusco. From southern Italy, Etna is starting to become better known and certain brands most likely resonate with those in the know, e.g. Feudi di San Gregorio, Mastroberardino, Planeta, Donnafugata, Regaleali, but probably the most popular wines are Negroamaro, Nero d’Avola and Primitivo, with Fiano selling quite well in supermarkets too.
How did the new regulations about the traffic of goods between the EU and the UK required by the Brexit deal affect the imports of Italian wines? According to my sources, in other words basically importers of Italian wines, it takes at least a week longer to ship goods and it is more expensive due to the export and import declarations that need to be completed (£120-£150 per order, so more expensive for small growers shipping a pallet or so). There is also a problem brewing over labelling – Defra (the Department for Environment, Food & Rural Affairs) has not finalised what will be required on labels of imported wines, despite the fact that the new rules are due to come into effect from 1 October.
Did your perception of southern Italian wine change after participating as a judge to the third edition of Sud Top Wine? If so, would you like to tell us? In addition to the judging itself, one of the great benefits of judging the third edition of Sud Top Wine was the opportunity to go out, either to the winery or to a restaurant, and judge the wine (ok drink the wines) with food. This aspect of southern Italian wine, its natural partnership with various different types of food, from fish to meat to vegetable and pizza and pasta dishes, really shows the wine of southern Italy at their palatable best. Of course from the judging process, I also learnt much about the versatility and great variety of southern Italian wines and the mind-boggling number of local grape varieties.
What wine from southern Italy do you have in your cellar? The answer to this question is too short, but this is partly because a limited number of southern Italian wines lend themselves to being laid down for any great length of time. Basically I have some 2017 Etna Bianco Contrada Villagrande. This wine won a trophy at the Decanter World Wine Awards two years ago and so I decided to buy a case – no regrets. I have also ordered some 2019 reds and 2020 whites from Tenuta Terre Nere and I am patiently waiting to receive them. They may not remain in my cellar for very long.
Colangelo & Partners is one of the most popular PR agencies in the USA. It is composed by an international team of wine and spirits professionals, providing market-moving advocacy for premium brands seeking to build their businesses in the US and beyond.
Colangelo & Partners has believed, since the beginning, in the importance of enhancing the richness of southern Italian territories and their wines, and it has been supporting the activities of the Sud Top Wine competition for the past two editions.
We interviewed Gino Colangelo, the CEO of Colangelo & Partners, about the Italian and southern Italian wines and their promotional activities in the USA. Let’s see what he has to say.
What is the perception of southern Italian wines in the USA? ‘In the know’ American wine drinkers love southern Italian wines for their diversity and price/quality value. Less knowledgeable wine drinkers think of southern Italian wine as low priced and well made but they don’t have a great appreciation for estate producers making high quality wines. Certain denominations – Sicilia DOC, for example – are doing excellent work promoting to Americans, turning even casual wine drinkers on to the great wines of southern Italy. There are also leading producers, mostly from Campania and Sicily, who are building awareness for their wines and southern Italian regions through their own marketing and communications activities. But there is still a lot of work to be done.
In terms of imports, in what position are Italian wines today compared to the other European wines? Italy is still the leader among imported wines in the US with approximately 33% market share by volume. This number has held steady over the past several years. But there is a lot of competition for Italian wines, among European countries like France, Spain and Portugal but also from other wine-producing regions (i.e. South America) and countries (such as New Zealand).
Do you think there is a potential for growth in the consumption of Italian and Southern Italian wines in the USA? If so, how can you explain the growing interest in little-known categories like these ones? There is a lot of room for growth, especially in wines priced $15 and above, which is where the US market is growing the fastest. Americans want to discover new Italian wine denominations from lesser known regions like Puglia and Calabria. As southern Italy grows in terms of a tourist destination, more Americans will discover the great wines of the regions. It’s very important for estate producers to capture information (e.g. email addresses) from American visitors and communicate with them once they’ve returned to the US. There are new opportunities with digital communications and ecommerce for producers from small denominations to engage American wine drinkers and build their brands.
What does Colangelo&Partners do to spread and enhance the importance of Italian wine territories and how much do you think a targeted and correct communication is important to properly convey the richness of these territories and thus facilitate sales in the US market? There is no single answer to brand building for fine wines in the US. A solid press relations plan including working with scoring critics and lifestyle press is fundamental. Events are also very important, trade and consumer. Having active social media pages – Facebook and Instagram, namely – is a prerequisite as is an informative, up-to-date website. It’s also important to engage with gatekeepers – retail buyers, Sommeliers, educators – who make decisions about which wines end up on retail shelves and restaurant wine lists. Of course, visiting the US and working with one’s importer and distribution network is also fundamental. Building a brand in the US is a big investment of time and money but the pay-off is great for wine companies that make the right investments and stick with a long-term strategy.
Which Southern Italian wine do you prefer to drink? I love to drink so many southern Italian wines. I love many of the full-bodied white wine varietals like Greco di Tufo and Cataratto. I also love big, complex red wines like Taurasi and Aglianico del Vulture. There are too many to list!
When we talk about old vines and their value, we often remember the quality of the wine obtained from them, but we often forget the importance and richness of this heritage for biodiversity. Today, more than ever, it is necessary to create a network not only to protect this category but also to give it the right value in the market. We interviewed Sarah Abbott, Master of Wine, promoter of the Old Vine Conference project.
Where does the idea of the Old Vine Conference come from? I’ve been interested in the culture, the heritage and the humanity of wine. About the conference it passed through Serendipity. I had this long standing interest that reflected in the work I’ve done to Italian wine regions actually, but also with emerging wine regions like Georgia, Turkey, which have a very ancient culture. I wanted to share this interest and collaborate with 2 partners Leo Austin and Alun Griffiths, Master of Wine like me. The time was right to share in a more coordinated way, the great work that have been done by many organizations all over the world for promoting and marketing great old-vine wine. The movement, the awareness of the importance of heritage of old vineyards has been quite active for 20 years. Jancis Robinson MW, she has been writing about the importance of the old vine heritage for nearly 20 years, also talking about the south Africa old-vine project, born to put wines produced from old vines under a single category, thanks to a certification; and other organization such as Barossa Old Vine Charter which is again nearly 20 years ago and other organization such as Save the Old in USA, Old Vine Collective in Chile. So what we are doing is anything new in the sense that the wine world already accepts this particular type of old vineyard rich in heritage, terroir, in interaction with place and traditional practices and a kind of deep agricultural wisdom. But what I found while I was travelling around the world for work is a lot of great individuals working in amazing old vine projects, regenerated old vineyards, working with communities to maintain the prosperity and the sustainability of agriculture community. Lots of this individuals did not actually know about each other.
So, what is the purpose of The Old Vine Conference? The project wants to be a connection among those individuals and organizations. Because the paradox of this great old-vine wine is that on one hand you have some of the greatest winemakers, the most famous winemakers in the world jumping in old-vine wines and get the recognition for that. On the other hand, in the market for the most consumers “old vine” doesn’t mean anything. Without a category is difficult to achieve higher value in the market. So one of the aims is to connect and amplify all the great work on spread the message of the importance of heritage. But another big part of our mission is actually to engage producers, grape growers, big companies as well as importers and distributers in the market being able to talk about this category of old-vine wine. You can make meaningful in the market then you can achieve the higher price in the market. For example, with the South African project, they have changed the dynamic in the market, they have achieved an average increase in grape value, in prices that is payed to the old vine grape growers. The main issue is not the low yield, but a kind of intimacy in knowledge. At our first conference we had Marco Simonit, CEO of Simonit&Sirch Vine Master Pruners, who explained that old vine doesn’t automatically mean that you sacrifice as a grower half of the yield. In order to keep vine in the ground more than 20 years, you need to think it’s like a lifetime partnership between the growers and the vine. The rewards are high because mean old vine have a genetic interaction with the environment. Therefore, they become high adaptive, highly resilient giving high deep terroir expression.
Do you think the wine produced from old vines have an edge on others and why? Yes, it can do. Of course is not just about the vineyard is old but also the grape variety planted in a place which is adapted on the environment. And it must be healthy and tended and the wine must be made in a good way, professionally. So all these things must be equal. What I find in old-vine wine is a kind of depth that is not necessarily about concentration, it’s not a kind of manipulated depth, I find great layered through the palate, and also what happens when you have old-vine wine is that it involves a kind of sacrifice to keep these vines in the ground and an effort from people making fine wine, they really invest in it. I think it’s one of the most intimate partnership between nature and men. You don’t make necessary exceptional wines, you make wines unique perhaps, also thanks to the passion of people. The initial researches suggest for example to old vine fruit is often really well balanced so in very hot years for example you the acidity is still maintained. We know that the most famous wines in the world are made from old heritage vineyards and what is interesting is that old vines really give the concentration. What is interesting is that one statement is often made. Old vine gives really low yield and concentration. Actually the research suggests that there is a moderated yield defect but not automatic and if you have health in your vines there is no reason for them to lose. It’s more about composition, balance and fruit.
Do you think the climate change will affect this kind of old vines or their strong roots are their strength? The issue of climate change has touched the issue of old vine wines in quite particular way. It touches on the genetic material of old vineyards and for example in Spain there is an amazing project by Torres, winemaker of one of the most important and ancient wineries of Spain. Torres is one of the four runners to embrace the need in the industry to act. He starts to identify and recuperated old vineyard forgotten varieties, really ancient grape varieties, the world didn’t really use any longer in the commercial wine production. They planted and made wines from this recuperated varieties, and what they’ve found is that these varieties have been incredibly important in helping rebalance the composition of grape when it comes to climate change because this change, especially in Spain is related to extreme temperature, drought, and a concern for maintaining freshness and vitality of fruit. These old varieties have performed brilliantly and when they do ripen they maintain their acidity, freshness and colour. So I think that’s probably one of the most important aspects of old vine heritage when it comes to climate changes is that they are a weapon, a kind of insurance of genetic diversity.
Where in Europe or somewhere else in the world are the territories where old vines express better in the soil? I think every part of Europe and every part of the world has a potential for their old vines to shine, and to give wine quality and deep connection to the culture and tradition. I would say that in Europe there no the right attention to the topic and it’s a paradox because other countries have organizations to market and support old vines. The leaders of old-vine movement have been from the new world: South Africa, California, Australia, Chile, but in Europe, for example in Spain, Italy, France (South), Portugal, they have such a richness of old vine heritage and old vineyards, but they have not yet come together to create something of impact as the rest of the world. So rather than talk about which part of Europe is best suited to make good old-vine wine, we need to talk about the waste potential for the great new old-vine project. I’d say that in Italy, Italian is so used to living right next door to incredibly beautiful and ancient things, you have millennial civilization that this richness is just waiting to being communicated. Italy could really take a lead actually. Italy has got so many great old vineyards and it’s losing a lot because the economics in the modern wine industry do not make easy to recuperate and restore old vineyards. Europe is not incentivized to focus on old vine heritage. One great example on regenerative agriculture, is the one of Salvo Foti, speaking about the project on Etna. I’d like to see the equivalent of South Africa project in Italy as well.
What are the best way to communicate or tell to wine lovers the wine from old vines? I think there are 3 main aspects to focus in. The first one is the quality, we have great old-vine wine, wines of unique character, very high quality, great depth and uniqueness of flavour. The second aspect is this kind of sense that you’re drinking history, is the sense of cultural connection, and the expression of unique place. In the same way people appreciate the gastronomic histories of a particular country or the music or the artists of a country. It’s a piece of heritage and that is very powerful. Old vine heritage combines both historical aspects of heritage with the agricultural heritage. Then, the third aspect is that old-vine heritage is a type of regenerative agriculture. this means that immediately you’re in a more eco-friendly, more holistic approach to viticulture. Because if you know you need these vineyards going, 50 or 60/70 years you immediately work using this approach.
Would you like to tell us about 9 wines that, from your point of you, express better the soul of old-vine wine? Yes, sure. There is some great old vine wine!
Gini, Soave Classico, Contrada Salvarenza Vecchie Vigne – from vines up to 160 years old, some ungrafted. Sensational wine – I had a bottle that was 20 years old, from magnum, and it was just ethereal greatness.
I Vigneri, Vinupetra, Etna Rosso – old vine Nerello Mascalese and Nerello Cappuccio from Salvo Foti’s inspirational project to restore the vineyards, terraces and communities of ancient wine culture on Etna
Bodegas Verum, La Mancha, Spain, Las Tinadas Airén – from 80-year old bush vines, a brilliant and mineral white that is transforming the reputation of La Mancha
Bodegas Frontonio, El Jardín de las Iguales, Garnacha, Aragon – incredible Grenache from vines planted in 1918. Intense but racy – brimming with vitality. Made by Master of Wine Fernando Mora. The old vine Macabeo is incredible too.
Thistledown She’s Electric Grenache, McClaren Vale, Australia – old vine Grenache becomes transcendent and fine. This is a great example. Again, made by a Master of Wine, Giles Cooke, who has long championed old vine heritage.
The Whole Shebang, Cuvée XIII, The Bedrock Wine Company, California, USA – a gloriously sumptuous red blend of old-vine Zinfandel and many other varieties. A fine example of how old vines bring lively richness to a wine, without clumsy heaviness. Made by another MW – Morgan Twain Peterson.
Argyros Estate Assyrtiko, Santorini, Greece – from vines planted in the 1800s, the crisp vitality of Assyrtiko takes on deep richness from these incredible old vines, trained in the distinctive circular shapes.
Natenadze Vineyards, Meskheti, Georgia. From recuperated vines thought to have been planted in the 1600s, Giorgi Natanedze makes tiny quantities of a delicate but precise red blend, from varieties previously unknown or thought to have been lost. Almost impossible to get hold of, but like drinking a piece of pre-history if you do!
Domaine Jones Fitou, Languedoc, France: vibrant but rich classic appellation from Englishwoman Katie Jones’ treasured old vines. Incredible value here for less than 20-euro retail.
Which trade can better understand the concept of old vines? I think all channels can explain this concept, but it’s a new concept about premium wine so, in UK for example, the Horeca channel can work better. It has great position to be able to tell story and, we know, people is always looking for stories. Connecting and speaking with influential figures on trade. I think is also important to focus on Independent wine sector, independent wine shops. They are very skilful about selling wines and telling stories for premium and online market. Also, I think direct consumer marketing is extremely important. Besides, education of the trade is very important and critical as well. Every channel of the trade has this new opportunity to talk about and merchandise this new category. It’s a “win-win” because if you merchandise and talk about it well, you basically engage your customer in a higher value category, facilitating the economic viability of growers.
Do you think create a brand only for wines coming from old vines can be useful to distinguish these wines from others? Do you think is necessary to protect this category of wines? Yes, I think it can be very useful even if it’s not easy but, when you succeed in it, you have very good result. The benchmark is really the South African Old Vine Project. They started with 8 and now they are 80 producers. What the producers do is they apply for the certification for their old vineyards. The vineyards are dated, assessed, they need to satisfy criteria of the project. They receive the Certified Heritage Vineyards seal and they are allowed to use this on their wines. The consumers associated the CHV to higher value, higher quality and sustainability. It’s not easy to agree this chart of value and definition but you need to start.
“I wanted to pursue my dream in the wine world, and for me it was very specific, I wanted to become a Master of Wine. It comes a moment in your life that you want to take a big challenge or at least try, because if you don’t try you don’t get any chance to succeed.”We have interviewed Yiannis Karakasis, Master of Wine but also WSET educator, blogger and consultant.
Would you like to tell us something about you, how you started your career in the field of wine? How and when you have become MW? My story on wine is rather unconventional, because I was in Hellenic Navy for 21 years, I used to be a Navy Officer. At the same time, I started studying WSET. In 2010 I took the diploma and I was also the commanding officer of the helicopter squad, so completely different worlds. At that time, I face the dilemma of what to do if I wanted to pursue my dream in the wine world, and for me it was very specific, I wanted to become a Master of Wine. It comes a moment in your life that you want to take a big challenge or at least try, because if you don’t try you don’t get any chance to succeed. But, while I was in the Navy, wasn’t possible for practical term and I realized that to be part of the wine world I had to work a lot. I left the Navy and to my friends and I started working on my Master of Wine. I started in 2011 and I finish the Master of Wine in 2015. So it took me 4 years to finish it. It is quite hard but I have discipline, I’m a well-organized person. I look only at the goal.
We know you are doing so many activities right now. Would do like to tell us? After becoming MW I had to be selective on what to do. I educate people through WSET in Cyprus, I educate people through Masterclasses in Greece and abroad, I have a blog (www.karakasis.mw) which is my voice, where I write every week about Greek wine, but also about Piemonte and I would like to write article about Sicily and Etna as well. Besides, I consult a Hotel Group in Santorini and some very nice restaurants, one in London. I’m also always very interested to wines from abroad. I like to travel and tasting wines.
What’s 50 Great Greek Wines? Last year I launched a revolutionary wine competition called 50 Great Greek Wines (www.greatgreekwines.com). For this contest we buy samples from the market and only 50 wines are awarded as we don’t communicate the rest of the wines. Basically it’s a blind tasting where we don’t give lot of information to the judges, like region or price. We want wines to start from the same point. We try to ensure the highest degree of transparency. Last year, which was the first, we had 421 wines participating at the competition, despite the Covid-19, from 140 wineries, which is a big number because everyone is quality oriented, from very good wineries. The awarded wines are then promoted, not only in Greece but also to wine professionals abroad like in Madrid, Poland, Bordeaux. The idea is that by promoting some of the best Greek wines, we get more attention for all Greek wine. 50 Great Wines is a step to promote the greatness of Greek wines. The fact is that the performance of Greek wines is fantastic, they are very interesting, but what they don’t have is the reputation, the story like a good Chablis can have. Santorini is a recent revelation. How you can compete with wines that has established story for century? What to do is finding the right people, talking with them and present the best of Greece. The feedback for the contest was very positive.
What do you appreciate from Italy and what are the most interesting wine regions in the world? I think it is always a matter of balance. I have great respect for the classic wine regions: Bordeaux, Burgundy, Barolo, Barbaresco, Montalcino, Chianti, but I always look to the new stuff, to the new regions that has risen recently like Etna, Cyprus, Israel, looking for new messages to communicate. It was a revelation for me when I visited Alto Piemonte, the northern part of the region, and I discovered a new world of Nebbiolo, more friendly in terms of prize but equally exciting in terms of terroir. I want to learn; every day we learn. You can have a general idea but no one from the people I know can call himself specialist in many regions, you never stop learning and this is the idea behind the master of wine for me. Italy has a special place in my heart because my family loves it, it is a bless country, it has common things with Greece like the mentality, the Mediterranean character, as well as history and future. I think both countries have strong connection to the past, and wine is part of our culture.
What do you think about Greece and Mediterranean area in terms of wine? What are the strengths and the weakness of those wines? Regarding Greek wines, I think the big advantage is indigenous varieties, we have more than 220 indigenous varieties and the majority of our vineyards are planted with indigenous varieties. The big strength in these wines is the combination of freshness, acidity and minerality. Not high alcohol despite the general warm climate. I always try to communicate to wine lovers that wines from Assyrtiko for example, they transport you immediately to the place of origin. And also if we talk about winemaking process: wine makers are artisan, small producers try to do great wines. Crete, Peloponnese, Kefalonia, Central Greece are very important. There are places in which we can find very interesting wines. And the best things for me is that Greek wine mainly is undiscovered, under rated. You can find fantastic wines that don’t cost a lot. If you hear the story of Santorini you have some of the oldest vines in the world (200-300 years old), planted in volcanic soils, special soils, they are own-rooted, phylloxera cannot survive in Santorini, because of the very low clay content. Low yields per hectar, about 15 to 20 hectoliters per hectar, so the production is low. Very specific training system called basket that protects the vine from the wind, that could be very aggressive in the area. All these are planted on the slopes on one of the most dangerous volcano in our times. I think that it is a very unique story.
Yiannis Karakasis
What will change after Brexit in the approach towards wine? Are English people will drink more English wines? The climate change will determine a new interesting prospective for the production of wine in UK? Brexit makes things very complicated in terms of trading wine. Even sanding samples to UK is difficult, duties and taxes are expensive. Everything is very complicated, but traditionally the British market is quite strong, I don’t think that they will drink less wine outside UK, but I think that English wine will start rising because all this climate change, and especially some vintages can work well for the South England, this could be a strong point for English wine. Some companies from Champagne is investing in south England. I think over the next 5 years we’ll see more stuff from UK, so far we know some very good producers and some very good sparkling wines, like Hambledon and Nyetimber. I’ve tasting some still wines but of course the vintage is extremely important in UK. Still some vintages are to cold and this maybe a problem. It was snowing in London in late April. So the weather is crazy. The climate change will determine the research of new places, new viticulture. The prevision for the future (for the next 15 years) is not optimistic even for countries like Greece and Italy, but at the end we have a very important strategic advantage. Our indigenous varieties are well adapted; they can survive because they have adapted in that place for several years. That means is important to preserve our heritage, the indigenous varieties and the old vines. For me one of the most important and exiting thing in wine world is old vines. I’ve make some prephylloxera tastings and this is one of my passions.
I can deduce you are fan of Etna wines then. Isn’t it? Of course I’m a big fan of Etna and its indigenous varieties such as Nerello Mascalese and Carricante that, for example, has very similar character of Assyrtiko, maybe lower alcohol but very elegant, with its volcanic heart and texture and the brightness of fruit. These wines are evolving and you get really distinctive flavour and texture and of course they are very versatile. I also like other Sicilian varieties like Grillo and Nero d’Avola. I think Sicily is very important for its special identity.
What are the 3 best wines you have tasted since you become MW? Usually I don’t tell that, but I’ll do an exception for you. The first one is from Pomerol, Vieux Chateaux Certan 1947, it’s a taste that I cannot forget. Then there is an Italian one, even if for Italy it’s difficult because I’ve tasted very amazing wines from Barolo. It’s Borgogno Barolo Riserva 1974. The third one is from Greece: Boutari Santorini 1989, which was a revelation for me. In general, I tend to go back to all vintages to find the highest complexity. Regarding new vintages, I can say that wines from Pietradolce or Benanti are fabulous.
What do you think about the first Italian Master of Wine? I’m happy and proud of Gabriele Gorelli. I attended a lot of boot camps with him. He always looked like a very focused, disciplined, hard worker and very smart person. I’m really pleased that Italy finally has a Master of Wine and above all MW like Gabriele. Italy has lots of great wines and I think Italy needs more than one MW, and I’m sure that in the next 2 years will be talented people emerging.
The awarded wines in the competition Sud Top Wine 2020 fly to the USA. The second step of the competition conceived by Cronache di Gusto starts. Among the 500 wines tasted and evaluated by our wine experts (Daniele Cernilli, President of the commission; Enrico Donati, Erik Klein, Federico Latteri, and Alessandra Piubello), the best southern Italian wines selected will be promoted to the US market. Browsing here on the website, you can find all the information about the project.
Some of the awarded wines will be shipped to the USA for an initiative of promotion thanks to the collaboration with our main sponsor Colangelo & Partners, an integrated communication agency of New York for premium brands in wine and spirits. Wines will be tasted by journalists, influencers, bloggers, and stakeholders around the wine trade. The USA initiative is the first one of several promotional actions able to permit the awarded wines to have visibility all around the world.
Every single bottle of wine designated to the US market will have a sticker attached to it, in order to recognize the prize received. To Cronache di Gusto, it means an important way to promote the wines from six different Italian regions, such as Basilicata, Calabria, Campania, Puglia, Sardinia, and Sicily. “Our mission – declares Fabrizio Carrera, founder of the competition – is to permit the wines of this part of Italy, that are surprising as well as able to communicate their terroir and that are the symbol of biodiversity, to be finally part of the world”. We will also communicate on Cronache di Gusto and Sud Top Wine social pages, all the initiatives that will take place.
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