The plants… I’m pretty sure they are alive. I mean, they’re alive in a way that allows them to speak to you. Sometimes, they even respond more clearly than humans do. 

How well do you really know the people around you? Your workplace peers, friends, your partner, those whose expressions you interpret, whose silences you read? What if I told you that vines—yes, grapevines—might sometimes speak more clearly than humans; their leaves, shoots, and berries speaking a language that is unmistakably clear to some? This is the world of Giovanni Frascolla, a man who hears the whispers of the vines more clearly than words themselves.

Just in his late twenties, Giovanni carries the weight of a storied legacy on his shoulders—and he does so with a quiet confidence that belies his age. Born into one of Tuscany’s most well-known winemaking families, Giovanni was raised amongst the rolling vineyards of Suvereto, a medieval town nestled in the Cornia Valley (Val di Cornia) region of Tuscany. This was where decades ago, his grandparents, Rita Tua and Virgilio Bisti, turned a casual agricultural hobby into a global phenomenon – making Tua Rita the first Italian winery to earn a perfect 100-point score from wine critic Robert Parker.

But as you’ll learn from speaking to Giovanni, Tua Rita's story is much more than just a single, perfect score. True "garagistes" at heart, they embodied a spirit of experimentation, proudly pushing against the boundaries of Old World styles and crafting their iconic Redigaffi, a Merlot-dominant blend that soared to international acclaim. And yet these are wines that remain deeply connected to the land, capturing the very essence of the Tuscan terroir, and continue to be some of Italy’s most coveted bottles.

Now, Giovanni stands as the custodian of the Tua Rita legacy while also serving as the driving force behind the up-and-coming Poggio Argentiera – the next jewel in the family crown that associates itself with the wider terroir of the Maremma region.

I recently had the privilege of sitting down with Giovanni himself for a long chat. He took me through his work in the vineyards as he spoke passionately about growing up surrounded by grape vines, the serendipitous start of his family's winemaking endeavour, the philosophy behind their winemaking, and his vision for the future.

We learn about the triumvirate importance of minerality, sea wind and meticulous selection, the three pillars upon which Tua Rita's success is built. And, of course, the iconic producer weighs in on the Super Tuscan debate – what exactly defines this category? Is it simply a matter of breaking free from traditional Chianti regulations, or is there a deeper philosophy at play? Would there ever be an appellation to define all Super Tuscans? 

Let’s hear it from Giovanni who leads the new guard of Tuscan winemakers.

Follow Giovanni and Tua Rita’s adventures here: @tua_rita | @giovanni_frascolla

Tua Rita is defined by three things: minerality, the influence of the sea, and selection. Selection is crucial for us. It's easy to say but hard to implement. In our winery, selection is key to everything we do.

88B: Before we dive into your very fascinating work, Giovanni, I understand that you were born and raised on the family estate of Tua Rita and spent many afternoons with your grandparents on the vineyard and in the cellar. It’s clear that Tua Rita is built on a strong foundation of family values and the legacy left by your grandparents.

How was it like growing up on the family estate? Were you involved in any part of the winegrowing and winemaking process early on as a child or teenage person? And are there any funny or amusing stories from that time that you could share with our readers?

Giovanni: Tua Rita is actually a medium-range winery in the Italian wine industry. What is interesting—though not unique, but still interesting—is that we are one of the last family-run businesses. So Tua Rita is a family. My grandmother, Rita Tua, my mother, my father, and me—we all work together, and we still make decisions over lunch at my grandmother’s house. That’s the philosophy and the essence of Tua Rita.

Naturally, I grew up here. I started working in the vineyards, riding the tractor with my grandfather, and living in this world of colours, the wine cellar, and the vineyard. When I was a child, it was a joy for me to go out into the vineyard and start picking some grape bunches. I grew up completely immersed in the winery.

When I was older, I started working more seriously. I wasn’t very young, but I started pretty early—at 18. I began in the winery, focusing on logistics, and then worked in the vineyards. Later, I studied oenology and winemaking at the University of Pisa. During my teenage years, I split my time between working in the vineyards and the winery.

This place, Tua Rita, is my home—if I can say this, I grew up at Tua Rita, but I grew up professionally at Poggio Argentiera. That’s for sure.

My grandfather said, "Giovanni, if one day you want to do this job, remember that a bottle of wine is the result of what you pick at the beginning.”

88B: From your early impressions of your parents and grandparents, what did wine mean to your family, and what purpose did it serve to your family?

Giovanni: It's strange because the story of Tua Rita is quite particular. My grandparents started producing wine—I don't want to say they did it entirely for fun, but it was effectively something they started out of passion. They began by making the first damigiane (demijohns), creating house wine, and then it gradually became a passion. Over time, I think it eventually became a profession, around the late 1990s—after more or less 10 years.

That is fundamentally important in our philosophy. It's something that remains important for everyone here at the winery. I remember one summer afternoon, I was just a child, maybe 7 or 8 years old riding the tractor with my grandfather, he said something that left a big impression on me. He said, "Giovanni, if one day you want to do this job, remember that a bottle of wine is the result of what you pick at the beginning." I forgot those words for a few years, but I remembered them again about three years ago. And they’re so important because they reflect the passion behind Tua Rita.

To sum up our approach, I usually say that Tua Rita is defined by three things: minerality, the influence of the sea, and selection. Selection is crucial for us. It's easy to say but hard to implement. In our winery, selection is key to everything we do.

For my family, wine is not just a beverage—it’s a passion. It's a passion for our work, for our land, for the people at the winery, for our team, and for our vines. That’s what wine means to us. Naturally, over time, it also became a business.

I don’t want to sound too trenchant, but the word “Super” is key—by definition, it has to be something exceptional.

88B: You're now the third-generation owner and global brand ambassador of not just Tua Rita, but also Poggio Argentiera – which sounds like a really impressive amount of work and responsibility! Italian magazines and newspapers also recognise you as one of the most influential young figures leading the way in the Tuscan food and winemaking scene.

With all of your responsibilities, we’re curious: what does a typical day at work look like for you? Knowing that every day probably brings something new, could you walk us through how your work changes throughout the year, from harvest season to quieter periods? How is it like working with your winemaking team, and how do you work with the oenologist and winemakers on your team to bring your winemaking vision to life?

Giovanni: Responsibilities are a natural part of life and a process of personal growth—at least, that’s my point of view. I started working at the winery pretty young, as I mentioned before. My experience now spans more or less 10 years. I’m still young—just 27 years old—but I started back in 2014, moving the first cases of Tua Rita wine in the warehouse. That was a really important experience for me, as it helped me understand not just the logistics of running a winery but also the value of hard work.

Yes, I’m the global brand ambassador, and with my team, we’re currently in more than 92 countries around the world, which is something I’m really proud of. Most of the year, I spend a lot of time traveling. I’m often on planes, working in various parts of the world, and I’ve accumulated a lot of miles over the years! I would say I spend about 250 days abroad per year. That’s the main part of my job at the moment.

When I’m here at the winery, like today, I spend time working with the team in the office. I also make sure to talk with the teams at both Tua Rita and Poggio Argentiera. To be honest, my heart is in the vineyards. I grew up in the vineyards, and that’s where my love truly lies. The cellar is important, of course, but I prefer to be in the vineyards, seeing where the wine is born. That’s really important to me.

It’s interesting to work across all aspects of the winery, from the vineyards to the cellar to promotion. I think it’s fundamental to understand every stage of the process. I often tell junior winemakers: Yes, you’ve studied economics or business, but remember that it’s important to start at the ground level. Go out into the vineyards, pick the grape bunches, and learn what it means to do the selection. Understanding what happens in your vineyard is fundamental if you want to promote your wine properly.

My grandparents’ original plan was to retire to the countryside and work just for fun. But instead, they ended up working even harder than before! It was a crazy turn of events.

88B: You mentioned that you really enjoy working in the vineyards. Could you tell us more about what you look for when you’re working there?

Giovanni: The plants… I’m pretty sure they are alive. I mean, they’re alive in a way that allows them to speak to you. Sometimes, they even respond more clearly than humans do. It’s so important to observe and listen to what a vineyard or a plot has to say to you throughout the season. That’s the core of our job—understanding what the plant is telling you.

This process starts with pruning, continues through the pre-season, then into harvest, and even after that. A vineyard will tell you everything over time, but you need to spend the time to understand its language.

For example, a vineyard plot with one specific exposure might "speak" differently than another plot nearby with a different altitude or distance from the sea. I’ve observed this a lot in Maremma at Poggio Argentiera. For example, a vineyard plot just 6 kilometers from the sea is completely different from a plot that’s only 2 kilometers away but at a higher altitude. Even though the variety of grape is the same, the differences are significant. You have to check in and understand what these changes mean. There’s a philosophy behind it.

I really enjoy this process. I love working in the vineyards during the spring, when the season begins, and then going out with the team before the harvest to check the berries—berry by berry. It’s part of my job, and I think it’s fantastic. I want to spend even more time doing this in the future.

If you make mistakes in the vineyard, the quality of the wine will inevitably go down. No matter what you do in the cellar, you can’t a mistake in the vineyard. That’s the truth, the sentiment, the philosophy of Tua Rita, and of my family.

88B: Turning to the Tua Rita Estate, the story of its beginning is quite fascinating and as you’ve said in one interview, you could shoot a Netflix series about it!

It wasn't born from a long-held dream of winemaking, but rather from a desire for a quieter life. Your grandparents, Rita and Virgilio, initially sought a peaceful retirement in the Suvereto countryside, envisioning Tua Rita as an olive plantation. But somewhere along the way, their plans changed, and their passion for wine ignited. They shifted their focus, planting Cabernet Sauvignon and Merlot instead of olive trees. Can you tell us more about this intriguing turn of events? What triggered the sudden change in plans from olives trees to grape vines? And of all grape varieties, what sparked their interest in French varieties and led them to plant Cabernet Sauvignon and Merlot?

Giovanni: *Laughs* Yes I’ve said it before, the story of Tua Rita really is like a Netflix series. My grandparents’ original plan was to retire to the countryside and work just for fun. But instead, they ended up working even harder than before! It was a crazy turn of events.

As for why they planted Merlot and Cabernet Sauvignon, my grandfather decided to plant Merlot because he fell in love with another wine: L’Apparita from Castello di Ama. That wine inspired him, so he decided to plant Merlot on the estate.

As for Cabernet Sauvignon, my other grandfather was a surgeon. Back in the 1980s, it was very common for Italians to gift wine to their doctors. Sassicaia was just starting to become famous – though it was much less expensive than it is now. So in those days, people would give bottles of Sassicaia as gifts to my grandpa and my grandparents would drank a lot of it during the 80s and beginning of the 90s. That’s why they decided to plant Cabernet Sauvignon—because they loved drinking Sassicaia!

Whenever I tell this story, people always ask me, "But didn’t they do a soil analysis before planting?" The truth is, they didn’t! They simply planted the varieties they loved.

What’s also interesting is that after planting Cabernet Sauvignon and Merlot, when everyone else in Tuscany was jumping on the trend of planting these French varieties, my grandparents decided to go against the trend and return to Sangiovese. It was a very non-trendy decision. Whenever I share this story with people, it always gets a laugh.

88B: The area was originally full of olive trees, right? Why the shift to growing grapes?

Giovanni: Yes. They bought the estate in 1984, and in 1985 there was a big frost. The temperature dropped to -17 or -18 degrees Celsius, which destroyed all the olive trees. Olive trees are evergreen, and at around -16 degrees Celsius, the capillaries in the trees break, causing the trees to die. So, all the olive trees were wiped out.

After that, we started planting a bit of everything—tomatoes, potatoes, and other crops—and also some vineyards. We planted Merlot and Cabernet Sauvignon in 1988. That’s why the shift happened.

Our vineyards benefit from sea winds and their influence, which, combined with the minerality of the volcanic soil, really defines the character of our wines.

88B: Despite being among the best Super Tuscan producers today, Tua Rita started with very humble family-oriented roots. How did the switch to serious winemaking happen?

Giovanni: When Tua Rita started, it was entirely a personal hobby or passion for my grandparents. I think the real turning point—the moment it became a serious business—was in 2000, when the Redigaffi received a 100-point score from the wine critic Robert Parker. That was the real switch, when what started as a passion became, more or less, a job.

After that, Tua Rita became an international winery, opening so many markets even without much prior business experience. That 100-point rating really changed everything.

88B: Your family estate is beautifully situated in the Cornia Valley (Val di Cornia) within the Maremma region of Tuscany, not too far from the also-famous Bolgheri. But your family’s trailblazing work has really put Suvereto on the map, showcasing its ability to produce world-class wines as a serious contender alongside other famous Tuscan regions.

For someone who grew up immersed in this world, could you show us how we could understand Tuscany and its diverse wine regions? What are the key factors that differentiate them in terms of style, climate, geography and winegrowing practices? And of course, how is Suvereto different from this vibrant tapestry in terms of soil, climate and winemaking practices?

Giovanni: Tua Rita and Suvereto have a peculiarity, in my opinion. The main one is the volcanic soil they have.

Suvereto is located in the center of what was once a volcanic crater. This volcano collapsed during the Jurassic period, pushing up lava that eventually became marble with iron inside. That’s why our soil is completely red and pink, full of stones made from this kind of mineral-rich material.

This type of soil is characteristic of the area, and even nearby regions share similar features to some extent. For example, on Elba Island, you’ll find the same type of soil. I’ve spent my summers on Elba Island, so I know its soils very well, and they’re very similar to those at Tua Rita.

Another key feature of Suvereto is its location near the Tyrrhenian Sea. Our vineyards benefit from sea winds and their influence, which, combined with the minerality of the volcanic soil, really defines the character of our wines. If I had to describe Tua Rita and the Val di Cornia in just two themes, I’d say minerality and sea wind influence.

The sea winds bring a light salinity that softens the climate and highlights the soil’s key characteristics, such as the minerality, iron and its oxidation. This combination of volcanic soil and sea winds is what sets us apart from other regions in Tuscany—and even from the rest of Italy.

Speaking of Tuscany as a whole, what makes it so special is its incredible biodiversity. Italy, in general, has incredible biodiversity and Tuscany is one of the most important places that makes this so. You can go from the mountains of Casentino in inland Tuscany to Pisa and Versilia, where the mountains meet the sea. Then there’s Chianti and, of course, the Maremma. Each area has its own peculiar beauty and character, which are reflected in the wines from Tuscany.

In Suvereto, we’re really proud of the progress we’ve made. We’re growing, and we’re making great wines because we’ve finally come to fully understand and embrace our identity. Minerality and the sea wind influence are key to what we do.

There’s also a new generation of young winemakers here in Suvereto who are doing fantastic work. I’m really happy about the energy and innovation happening in this area.

Great wineries work well even in difficult vintages. If you know the producer, you can find a surprisingly good wine in a vintage that wine critics all over the world rate as the worst vintage of the century! What they say is not 100% true.

88B: Since the first wine was released by Tua Rita in 1992, how has the production methods and style of Tua Rita evolved over the years, and how is it evolving into the future?

Giovanni: The way we produce wine has definitely changed over the years. When my grandparents started, they were very focused on selection, which was a key part of their philosophy from the beginning. For example, in the middle of July, they would do a strong green harvest, removing up to 80% of the total production from the vines. It was effective, but since 2005, we’ve been refining this approach with what we call a pre-selection process.

For us at Tua Rita, as I’ve said, selection is the one of the 3 most important things . Over the years, we’ve developed this pre-selection process, that involves multiple harvests. On each vineyard plot, particularly the cru vineyards like those for Redigaffi, Giusto di Notri, Per Sempre, and Keir, we go through 3, 4, or even 5 rounds of pre-selection. By the end, we leave just two bunches of grapes per plant for the cru wines. The other grapes from the earlier pre-selection stages go into our entry-level wines. This pre-selection process has been one of the biggest changes in how we work, and it’s extremely important for us.

The second major evolution is, of course, related to climate change. For us, the impacts of climate change started as early as 1998, even though many people think it became noticeable only around 2003. Climate change has influenced both how we grow grapes and how we approach winemaking.

For example, in the 1990s, my grandmother told me they used to do four pump-overs a day during fermentation, each lasting 20 to 30 minutes. Now, that’s considered a legend! Today, we do just one pump-over per day, lasting only five minutes. At the end of fermentation, we refill the vats, close them, and use an infusion-like method to extract delicate notes from the skins. This approach avoids powerful extraction.

So, the two main changes have been the development of our pre-selection process, including multiple harvests, and the reduction of extraction and oakiness. We’ve also been working with alternative materials, such as concrete and amphorae.

88B: If you had to choose 3 wines from your portfolio that truly capture the essence of Tua Rita and 3 vintages of Redigaffi, which would they be? What makes these bottles stand out to you? 

Giovanni: I’ll start with the wines. If I had to choose three of the most representative wines, in my opinion, there is first, Rosso dei Notri. This wine captures the essence of the winery’s philosophy. It’s the result of our second selection, meaning it’s our entry-level wine, but it always comes from cru vineyards. In my opinion, it perfectly represents what Tua Rita is about—quality, even in the simplest expressions.

The second one is Per Sempre – This wine is deeply sentimental for us. It’s the wine of my grandfather, the founder, and it represents him and his vision. Per Sempre is the most sentimental wine in the winery actually.

And of course the Redigaffi – Naturally, Redigaffi has to be here. It’s the heart of the winery. For my family, it means so much. At Tua Rita, we often say we have two harvests: the harvest before Redigaffi and the harvest after Redigaffi. Once Redigaffi is finished, everything is more relaxed! *laughs* After that we can start the second harvest with peace of mind.

As for three vintages of Redigaffi, this is an interesting question.

I’d say the Redigaffi 2007 – This vintage is very special to me because it keeps coming back into my life. I’ve tasted a lot of older vintages, but 2007 stands out as my favourite.

Redigaffi 2021 is a recent vintage I love and that I believe has a lot of potential. It has perfect balance—structure, acidity, and everything in harmony. The 2021 is one of the few young Redigaffis that is really fantastic.

Another great vintage is Redigaffi 2014 – This is a surprising choice because 2014 was a very challenging vintage in Italy. There was a lot of rain and we were really worried about the vintage. But in my opinion, it’s one of the best expressions of Redigaffi. It’s fresh, juicy, with great acidity. It has no “green” flavours but reflects the challenges of a difficult vintage. It’s a great expresson of Merlot in a challenging vintage.

If I were to look for a Redigaffi that is a little less expensive than other vintages, I will buy the 2014.

When I’m out for dinner with my girlfriend and I spot a 2014 on the wine list, I often choose it because it’s usually priced lower than other vintages, but I know the producer. Great wineries work well even in difficult vintages. If you know the producer, you can find a surprisingly good wine in a vintage that wine critics all over the world rate as the worst vintage of the century! What they say is not 100% true.

In my opinion, a Super Tuscan must feature international grape varieties, or a blend of Sangiovese with international varieties, and it must come from Tuscany with a high level of quality and selection. Not everything qualifies as a Super Tuscan.

88B: And of course, Tuscany is renowned not only for its exceptional wines but also for its incredible cuisine. So, to complete the experience, what are some of your favorite Tuscan dishes that would pair beautifully with each of these wines?

Giovanni: Oh dear, food and wine pairing isn’t my strongest skillset, but I’ll give it a try! Tuscany is famous for wild boar, especially here in Suvereto, where it’s a big part of the local cuisine. So, for the Redigaffi 2021, I would pair it with wild boar and pappardelle - wide ribbon pasta.

For the Redigaffi 2014, I would pair it with a duck dish that has a touch of sweetness. The 2014 has a bit of freshness and some green pepper notes, which would balance the sweetness of the duck nicely.

As for the Redigaffi 2007, it’s a powerful and balanced wine, so I think it would pair wonderfully with a classic Fiorentina steak—not an overly fatty cut, but a leaner steak made from Chianina beef, which is a specialty of Tuscany.

Looking to the future, I think the next step is to add value to our indigenous autoctonal varieties. That doesn’t mean everything has to be 100% Sangiovese, but it does mean embracing other local varieties, including whites.

88B: The Super Tuscan category exist in a fascinating space between tradition and revolution. The term carries prestige, and yet it’s also quite a broad concept with no clear-cut definition, unlike Chianti Classico or Brunello di Montalcino.

What does the term “Super Tuscan” mean to you?

Giovanni: For me, the term “Super Tuscan” is actually quite easy to define. I don’t want to sound too trenchant, but the word “Super” is key—by definition, it has to be something exceptional. When I travel abroad, especially in the U.S., I often hear drinkers suggest that the Morellino di Scansano from Poggio Argentiera, which I produce, is a Super Tuscan. But no, it’s not.

There’s a lot of confusion about what makes a wine a Super Tuscan. In my opinion, a Super Tuscan must feature international grape varieties, or a blend of Sangiovese with international varieties, and it must come from Tuscany with a high level of quality and selection. Not everything qualifies as a Super Tuscan. Even the Rosso dei Notri from our winery is not, in my opinion, a Super Tuscan. It’s what I like to call a “baby Super Tuscan.” *laughs*

The wines I would consider true Super Tuscans from Tua Rita are Redigaffi and Giusto di Notri. Beyond Tua Rita, there are other iconic Super Tuscans from great wineries with prestigious names, like Tignanello or Solaia from Antinori. Wines from Bolgheri, even if they have an appellation, can also be considered Super Tuscans. For example, Saffredi from Fattoria Le Pupille is definitely a Super Tuscan.

The important thing is that the word “Super” must truly mean a high standard of quality. You can use oak in so many things but what makes it “Super” is the exceptional selection.

In terms of history, the concept of Super Tuscans started in the late 1980s and early 1990s. Wines like Sassicaia, Grattamacco, and L’Apparita from Castello di Ama established the category.

Looking to the future, I think the next step is to add value to our indigenous autoctonal varieties. That doesn’t mean everything has to be 100% Sangiovese, but it does mean embracing other local varieties, including whites. For example, on the Tuscan coast, Vermentino is thriving, and I think we’ll see much more Vermentino in the coming years. In Maremma, Ciliegiolo is another variety that’s growing in potential.

What matters most isn’t the variety or name, but the style. We need to express the terroir and individuality of each region. Chianti, Brunello, Vino Nobile and the Maremma area all have distinct identities and terroir, and the goal should be to celebrate these differences. That would be the next step, rather than to treat everything as the same.

88B: We would love to hear your views on the role of DOCG, DOC, and IGT classifications in the context of Super Tuscan wines. While the IGT classification has provided a home for many Super Tuscans, it also encompasses a very broad range of wines, and so smaller or newer producers may struggle to receive the same recognition as more well-known producers like yourself.

Of course, the existing IGT classification offers winemakers a lot of freedom to experiment with non-native grapes like Merlot and Cabernet, blending wines and less strict oak aging requirements – which has allowed the Super Tuscan spirit to flourish. But do you see any need to further refine the IGT system to better distinguish Super Tuscans? If so, how do you think the system could be improved? And how would you balance this freedom with the desire to protect the integrity of the reputation of the Super Tuscan category?

Giovanni: Allora, we already have a consortium to protect the IGT classification. Producers who make more than 20,000 bottles can join this consortium for added protection and recognition.

That said, I don’t think we’re at the point where we can definitively say, “This is a Super Tuscan, and that is not.” You won’t see a Super Tuscan appellation next year or even in the near future in my opinion. Maybe one day, but it’s not something that’s happening anytime soon.

I know that discussions are happening—we are working on this—but imagine trying to create a single law or appellation that satisfies everyone – that will require compromise, and we’ll have to see what happens in the years ahead. That’s my personal view for now.

88B: Could you explain why is it so difficult to create a specific Super Tuscan classification for all of Tuscany?

Giovanni: Yes. For example, even just the IGT Toscana Rosso classification, which is under the IGT appellation for red wines, it includes 2,000 producers. In a democratic system, where everyone has their own opinion, it’s very difficult to find a consensus that works for everyone.

I think we will see progress in the coming years, and I’m 100% confident that it will happen in the next years. However, at the moment, we don’t know exactly how it will be structured.

88B: Every bottle of wine from Tua Rita is instantly recognizable thanks to the wonderful artwork of Raffaele De Rosa which features his fantastical creations, intricate architectural compositions and dreamlike scenes. It’s a brilliant collaboration that makes for one of the most beautiful and collectible wines in the world!

How did this unique collaboration get its start? How do you and Raffaele decide on the specific artwork that will grace each bottle? How does the chosen artwork capture the essence of each Tua Rita label? Could you share with us a fun fact, or perhaps something that most of us don’t know about the people behind these evocative label art?

Giovanni: Raffaele is like family to us. If you visit the winery and you’re lucky, you might even find him in the tasting room with my grandma, discussing art and other things. I admire Raffaele so much, both as a person and as an artist—he really has become part of the family.

The collaboration with Raffaele began over 40 years ago, through a friendship he had with my grandparents. In 1991, as a gesture of good luck for the winery’s new adventure, Raffaele painted the now-iconic artwork that you see on our labels. It was a spontaneous, generous act and my grandma decided to feature it on the labels of our very first releases: Giusto di Notri 1992 and Perlato del Bosco Rosso 1992.

We were unconventional in the Italian wine industry – it’s like we were the Santero or Fanta of wine in the 1990s! While the wines themselves were highly praised by critics and journalists to be “excellent” or “Tre Bicchieri,” the main criticism was of the labels! When my father first joined the winery, some journalists told my grandma, “Rita, the wine is fantastic, but the label is a disaster. With this label, you’ll never sell a bottle of wine!”

Well, they were wrong!

As I said, Raffaele is part of the family and our tasting room is more like an art gallery than a traditional tasting room because we continue to add more of and more paintings. Yes, it’s beautiful. Credit also goes to my grandma, Rita, who still spends a lot of time decorating the space for Christmas and Easter. She’s already 80 years old.

I want to highlight the sunny character of Maremma—the sunshine of this region.

88B: Turning over to your second winery. In 2015, Tua Rita expanded its reach with the addition of Poggio Argentiera, a promising Tuscan estate nestled in the heart of Maremma. You've been entrusted with the task of managing Poggio Argentiera and elevating its wines to the same level of excellence as Tua Rita, while still maintaining its own unique identity and appeal.

Could you share with us what has been Tua Rita’s broader strategy behind this second winery? What do you intend to borrow from the Tua Rita experience?

Giovanni: Allora, of course, this is a big responsibility for me, especially because my face is tied to this project now. But I think that, after nine years, we’re moving in the right direction to build something really special.

The two wineries—Tua Rita and Poggio Argentiera—are entirely separate, and that’s an important distinction. Each has its own cellar, bottling facilities, and separate teams.

The second thing is that Tua Rita has a long-established reputation and style, whereas Poggio Argentiera is newer and doesn’t have the same kind of legacy yet.

My goal isn’t to make Poggio Argentiera into another Tua Rita. Instead, I want Poggio Argentiera to highlight the unique qualities of Maremma that is one of the biggest regions of Tuscany. My focus is on showcasing the true potential of Maremma wines—not by relying on price, but by focusing on quality.

We’re one of the youngest winemaking teams of Italy. We’re also working with indigenous autoctono varieties. Our goal is to produce wines that my generation can appreciate—not only for their quality but also accessibility in terms of price. That doesn’t mean making cheap or overly simple wines. What it means is crafting high-quality wines with a great price.

That’s our goal since 2020. We’ve really clarified our vision for Poggio Argentiera and what it represents for us, as well as for Maremma. And we’ve grown quickly—from the original 18 hectares when we started to 30 hectares now. That’s a lot for a winery that’s built and driven entirely by young people with, in my opinion, good strategies, strong scores from critics, and, most importantly, great wine quality.

88B: What are the key characteristics of Maremma that you want to highlight at Poggio Argentiera?

Giovanni: I want to highlight the sunny character of Maremma—the sunshine of this region. But that doesn’t mean making overly hot or heavy wines. You can create fruity, fresh, and interesting whites and reds, even in a sunny region like Maremma, wines that are enjoyable even in the summertime. It’s actually more ideal here in Maremma than other areas if you find the right balance in the vineyards.

One of the main characteristics we want to emphasise is the salinity that comes from the poor, sandy soils near the sea. At Poggio Argentiera, we’re just six kilometers from the coast.

Another feature is the temperature variations you find in the Baccinello area located further inland on the east side of Maremma. Unlike Suvereto, Maremma offers a wide diversity of terroirs with about five or six distinct terroirs across the region. For example, close to the sea, you have sandy, poor soils with a lot of salinity.

Further inland, around 30 kilometers from the coast, you find higher altitudes, clay-rich soils mixed with silica stones, and the largest temperature fluctuations in all of Tuscany. These two contrasting scenarios are what make Maremma so special.

At Poggio Argentiera, we aim to highlight wines that reflect sunshine and freshness, with juicy, vibrant notes that are appealing to younger generations. We’d like to focus on quality, value and a good price.

Every winemaker has a unique vision of their wine’s identity – the various terroir, the biodiversity of the land. These are fundamental in Tuscany. But I’ll emphasise that all of Italy’s producers would always begin with the idea that a wine should be brought up with great quality.

88B: You're a member of a new generation of winemakers, and you're already making such an impressive impact on the Tuscan wine scene. As you guide this iconic estate into the future, how do you envision continuing and evolving that legacy?

Giovanni: Over the next few years, I want to continue the path we started about three years ago: growing step by step while maintaining the highest possible quality for both Tua Rita and Poggio Argentiera.

At Tua Rita, the margins for growth are smaller because the winery is already well-established and operating at such a high level. Yet there’s always room to improve, no? At Poggio Argentiera, on the other hand, I think we’re only at about 70% of what we can achieve. So we still have 30% to go. There’s still significant potential to grow—both in terms of quality and quantity.

Right now, Tua Rita produces between 320,000 and 350,000 bottles per year, depending on the vintage. I think we could expand to around 400,000 bottles per year.

Poggio Argentiera is between 100,000 to 130,000 bottles per year, but I’d like to see us arrive at 200,000 bottles per year within the next 5 years. That said, quality always comes first. We continue to have a lot of work to do.

88B: It also seems that there's a real sense of camaraderie amongst Tuscan wine producers through the generations, a shared passion that goes beyond friendly competition. Are you familiar with the next generation owners of other Tuscan winemakers? Do you envision working together with the next generation of Tuscan winemakers to shape the future of Tuscany, and if so, what might that look like? What changes would the next generation of Tuscan producers bring, and what exciting collaboration and innovation can we expect?

Giovanni: I agree with you. Historically, Tuscany hasn’t been known for its sense of friendship among producers. But that’s in the past. Personally, I’m great friends with many producers in Tuscany, and there are some guys with whom I share experiences and ideas about this work.

I believe we can do something meaningful together as the next generation of winemakers. Of course, it will take time—maybe 10 years or so—but for sure, Tuscany, and Italy as a whole, has a new wave of producers coming up, whether they’re third-generation, fourth-generation, or even second-generation owners.

There are also a lot of young Italians working abroad in the wine business in different capacities— these include sales representatives, wine lovers and others who are contributing to the industry. We’re all working well together. I’m very positive about what’s to come for the Italian wine business.

88B: As the next generation of Italian winemakers, do you any of you have a different vision from your parents?

Giovanni: Yes, of course. Every winemaker has a unique vision of their wine’s identity – the various terroir, the biodiversity of the land. These are fundamental in Tuscany. But I’ll emphasise that all of Italy’s producers would always begin with the idea that a wine should be brought up with great quality.

88B: You’ve mentioned earlier that you recall being on the tractor with your grandfather, who gave you the advice that if you're going to stay in this wine business, you will have to remember that winemaking really begins from the grapes you harvest. What does this piece of advice mean to you?

Giovanni: That’s the essence of Tua Rita. This piece of advice from my grandfather is unique—it truly represents what we aim to express in every glass of wine. Not just in the Redigaffi, but also in our entry-level wines.

The philosophy is simple: the grapes you harvest in August or September are what make the wine. The cellar is just one stage in the process; you merely avoid doing harm there!

That’s also why I love working in the vineyards. If you make mistakes in the vineyard, the quality of the wine will inevitably go down. No matter what you do in the cellar, you can’t a mistake in the vineyard.

That’s the truth, the sentiment, the philosophy of Tua Rita, and of my family. This is the most important lesson—not just for me, but also for my parents, passed down from my grandparents.

That’s the idea.

We thank Giovanni and Tua Rita Winery for their invaluable perspective on the future of Tuscan wines!

@CharsiuCharlie