Ho passato anni a sanificare botti da 30hl con la lampada UV. Poi ho capito che il legno stava coprendo la voce del mio territorio.
▲ 36 r/Sommelier+2 crossposts

Ho passato anni a sanificare botti da 30hl con la lampada UV. Poi ho capito che il legno stava coprendo la voce del mio territorio.

Questa è una foto di qualche tempo fa: lavaggio accurato, sterilizzazione con lampada UV, asciugatura e sigillatura a mano della portella con il mastice per una grande botte da 30 ettolitri. Un rito antico che rispetto e che conosco fino all'ultimo dettaglio tecnico.

Eppure, a un certo punto del mio percorso da produttore, mi sono reso conto che stavo usando il legno più per abitudine e per conformarmi a un certo gusto di mercato che per reale necessità del vino.

Il legno trasforma il vino. Spesso gli regala un abito rassicurante, note tostate, vaniglia, spezie dolce, ma rischia di mascherare l'impronta del vitigno e del suolo, soprattutto quando si lavora su terroirs con forti spiccate note calcaree o saline (come nel nostro caso negli Iblei, in Sicilia).

Per questo ho scelto di abbandonare il legno e virare completamente su tre materiali "neutri":

  • Terracotta (Anfora): per ottenere la micro-ossigenazione e la maturazione del tannino, ma con impatto aromatico zero.
  • Cemento: per la stabilità termica e una maturazione lenta senza interferenze.
  • Acciaio: per cristallizzare la freschezza e la fragranza della materia prima nuda.

Non voglio dire che il legno sia il male assoluto, ma credo che l'ossessione per l'affinamento in botte abbia spesso uniformato il gusto dei vini.

Come la vedete voi qui dentro? Preferite quando il legno si sente come "spezia" strutturale o cercate vini totalmente spogliati dalla matrice dell'affinamento in legno?

u/Claudio_LaValleDegli — 2 days ago
▲ 0 r/wine

Why Stainless Steel Beats Oak for Coastal, High-Salinity Sicilian Wines (Case Study: Dirillo Valley)

Hey everyone,

I wanted to share a breakdown of a fascinating terroir in southeastern Sicily and a somewhat radical winemaking choice that’s yielding incredible results—especially in modern fine dining.

The Landscape as a Sensory Map

If you stand at the high point of the Dirillo River Valley, you look out over an artificial lake in the foreground and, right on the horizon, the blue line of the Mediterranean Sea.

This isn't just a stunning view; it’s literally the sensory blueprint of what ends up in the glass. The river valley acts as a natural wind tunnel, pulling saline sea breezes inland every single day. These winds sweep through vineyards planted on a distinct substrate of limestone and golden sand. Combined with the intense sunlight of the Hyblaean plateau, you get perfect fruit maturity counterbalanced by constant ventilation and crisp acidity.

The Philosophy of Subtraction: 100% Stainless Steel

When dealing with a terroir this distinct, every winemaking decision is a statement of intent. Oak—even noble or neutral oak—risks overlaying boisé or vanilla notes over the most precious feature of this site: that razor-sharp, vertical salinity.

The approach here is built entirely around subtraction:

  • 100% Stainless Steel aging and vinification
  • Spontaneous fermentations
  • Zero oak impact, zero heavy reduction

The goal? To preserve the raw electricity of the fruit and the unmistakable stamp of the site. Instead of the heavy, broad profile often associated with warm southern climates, the result is a wine that is electric, linear, and wildly saline—like sun on your skin and salt on your lips.

Gastronomic Pairing & Micro-Allocations

This hyper-clean, energetic profile is exactly what modern high gastronomy is hunting for right now: wines with high mineral tension that elevate complex dishes without overpowering them.

Because of this uncompromising approach to natural winemaking in steel, cuvées like Blanche, Scilla, and Terra Arsa are produced in micro-lots and distributed exclusively via strict allocations to top sommeliers and luxury hospitality partners. The rarity isn't a marketing stunt—it's simply the reality of preserving pure terroir at scale.

Open Question for the Community

I'm curious to hear where everyone lands on this:

>

Let’s hear your thoughts!

u/Claudio_LaValleDegli — 20 days ago
▲ 65 r/Sommelier+2 crossposts

Behind the scenes in the cellar: resting the FIRST batch of Bin L5226 (100% Inzolia)

Just putting the very first batch of our latest micro-lot to rest in the cellar today!

This is Bin L5226 the first 572 bottles of 100% Inzolia laid down in metal crates (more to follow as we go). Coming from limestone soils here in south-eastern Sicily, sitting at 12.5% vol. with plenty of crisp acidity and salinity.

I love seeing these crates fill up while the wine rests before allocation. Thought you wine lovers might enjoy a quick peek behind the scenes!

u/Claudio_LaValleDegli — 23 days ago
▲ 98 r/viticulture+1 crossposts

​First look at a tank sample: direct-press Frappato & Nero d'Avola Rosato on limestone.

​Testing out a cellar sample for our next micro-lot here in SE Sicily.

​It’s a blend of Frappato (for floral crunch and acidity) and Nero d'Avola (for mineral tension), grown on pure white limestone. Aged strictly in stainless steel to keep that pale color and chalky finish.

​Curious what you all think: when it comes to Italian Rosato, do you prefer this light, high-tension style, or do you usually expect more color and extraction from the south?

u/Claudio_LaValleDegli — 25 days ago
▲ 26 r/u_Claudio_LaValleDegli+2 crossposts

Beyond Etna: Why Nero d'Avola on pure limestone (no oak) changed my perspective on Southern Sicily

Everyone rightly talks about Etna’s volcanic soils, but there’s a quiet revolution happening further south in the Iblei highlands (Valle del Fiume Dirillo).

​For decades, Nero d'Avola got a bad reputation for being over-extracted, jammy, or heavy on oak. But when you plant it on calcareous white limestone and strip away the barrel influence—keeping it strictly in steel with extended maceration—it reveals a completely different character.

​Instead of heavy marmalade notes, the limestone brings incredible tension:

​Dark wild berries & Mediterranean scrub

​A distinct salty/mineral backbone (similar to limestone terroirs in Chablis or Burgundy, but with southern sun)

​High natural acidity and structural ageability

​I’ve been focusing entirely on this expression with our micro-lot, Terra Arsa, keeping processing as non-interventional as possible to let the limestone speak.

​I’d love to hear from this community:

How many of you have explored un-oaked Nero d'Avola or wines from the Iblean plateau? When looking at Southern Italian reds, do you lean more towards volcanic minerality (Etna) or limestone/calcareous tension?

u/Claudio_LaValleDegli — 26 days ago