How Humans Made the Soil of the Douro Valley

This is the second lecture about the Douro Valley by the great viticulturist António Magalhães. Today’s theme goes literally beneath the surface. After exploring the climate in our first session, we turn to the second pillar of the region’s terroir: its soil.

A Soil Made by Hand

When you walk through a vineyard in the Douro Valley, take a moment to look down. You see the slow artistry of nature, which over millions of years created the schist beneath your feet, and the tireless toil of generations who transformed it into living soil where vines can thrive.

The Douro’s deep valleys were carved over millennia by the river and its tributaries. On those steep slopes, the native soils, known as leptosols, are little more than a palm’s depth of earth resting on hard schist. Left untouched, they would never have sustained flourishing vines.

But in the Douro, people refused to accept nature’s limits. Over the course of centuries, they created anthrosols — soils made by human hands. The locals call the act saibrar, agronomists surribar: it means breaking rock to create soil where vineyards can grow.

The photograph shows that the schist bedrock appears brittle and easily broken. Above it lies the soil created by human labor. Look closely, and you can see the vine roots reaching down, searching for that last drop of water that keeps them alive through the scorching summer heat.

The image illustrates the words of the Marquis of Villa Maior, from his 1875 treatise, Practical Viticulture:

“The longevity of the Douro and Burgundy vines is due to the extraordinary development of their roots, favored by the nature of the subsoil.”

Breaking Rock to Grow Life

Until the late 19th century, surribar was done with nothing more than pickaxes and iron bars. In the 20th century, dynamite was introduced, followed later by bulldozers and hydraulic excavators. Yet the goal remained the same: to give each vine at least a meter and a half of soil depth.

The schist fractures almost vertically, allowing roots to slip deep between its plates. There, the vine finds not abundance but balance: less than 1.5 percent organic matter, yet perfectly aerated and rich in minerals. These fractured layers also ensure excellent drainage, carrying away excess rainwater while retaining just enough moisture for the vines to endure the long dry season. It is a poor soil that yields noble fruit, a reminder that in wine, perhaps as in life, struggle builds character.

Stones and Gravel

Kneel in a Douro vineyard and you’ll see a glittering mosaic of crushed stone and gravel. To outsiders, it looks barren; to the vines, it’s paradise.

In 1947, agronomist Álvaro Moreira da Fonseca, who devised the Douro’s vineyard classification, ranked soils by their gravel content. His creed, simple and enduring, can be expressed in words worthy of being carved in stone: “Vines thrive on stony ground.”

The gravel plays alchemy with the elements: reflecting sunlight by day, releasing heat by night, regulating the vine’s rhythm. It stores warmth, tempers vigor, and transforms scarcity into intensity.

Counting by the Thousands

António says that “The poorer the soil, the closer the vines.” Douro farmers compensate for the soil’s low fertility by planting vines at higher densities. Each vine produces modestly, but together they create abundance. Instead of counting hectares, growers speak of milheiros — groups of a thousand vines.

After the phylloxera epidemic, the rebuilt terraces — socalcos — reached a density of 6.5 milheiros per hectare, enough to make every meter of stone wall worthwhile. 

Sculpting the Mountain

Rain, the same force that helped carve the Douro, also threatens to destroy it. The solution lies in building terraces to prevent soil from sliding away. During the surriba, the stones brought to the surface are removed and reused to build the vineyard walls. This operation, called despedrega, is a practice that makes the back-breaking labor of surribar more rewarding.

Some of the terraces devastated by phylloxera were never replanted. Many owners, overcome with despair, abandoned the region to rebuild their lives elsewhere. Others chose to start anew, replanting vines on gentler slopes with more forgiving soils and milder climates. 

These abandoned terraces, known as mortórios, have been reclaimed by the Mediterranean forest. Their stone walls, now entwined with wild vegetation, stand as silent witnesses to a tragic chapter in the Douro’s history.

The oldest terraces, built after phylloxera, were supported by dry-stone walls, feats of balance and beauty where each stone rests “one upon two.” In the 1960s, as labor became scarce and tractors arrived, new earth-banked terraces (patamares), depicted below, took their place — practical but less graceful.

At the turn of this century, António Magalhães and David Guimaraens, the head winemaker of Taylor’s Fladgate, combined the beauty of the old dry-stone terraces with the practicality of the modern earth-banked ones. Inspired by California’s Benziger Family Winery, they built narrow terraces, just 1.5 meters wide, each with a single vine row and a gentle 3 percent slope to drain rainwater safely. Precision-leveled by laser, this innovation protects against erosion while preserving the Douro’s graceful geometry. 

Root and Rock

The phylloxera plague that ravaged European vineyards in the late nineteenth century arrived at the Douro in 1863-64.

Salvation only came after Jules-Émile Planchon, a French botanist, and Charles Valentine Riley, an American entomologist, discovered that grafting European grapevines (Vitis vinifera) onto American rootstocks could save the vines. 

One such rootstock, Rupestris du Lot, thrived on the Douro’s poor, dry, schistous hillsides.

It seems to facilitate potassium absorption. This mineral helps regulate the opening and closing of tiny pores on leaves, called stomata, which control transpiration and CO₂ uptake — both essential to photosynthesis.

For decades, the Rupestris du Lot anchored the valley’s post-phylloxera vineyards, its deep-seeking roots echoing the surriba’s purpose: to connect life to stone. Even as newer, more productive hybrids replaced it, António continues to praise its quiet virtues — longevity, restraint, and resilience — the very qualities that define the Douro itself.

Granite Lagares

The granite lagares of the Douro are among the most enduring symbols of the region’s winemaking heritage. Their coarse surfaces help regulate temperature during fermentation and impart a tactile connection to the land — the sensation of grape skins and must mingling with the mineral essence of granite itself.

For centuries, blocks of rock were quarried from places like Vila Pouca de Aguiar, Portugal’s self-proclaimed “granite capital,” where the stone’s density allows it to be cut into large rectangular slabs. 

António concludes his lecture with poetic words: “In the Douro where I grew up, the grapes journey from rock to rock — ripening in the heat of schist and fermenting in cool granite lagares.”

What to Visit

The train trip from Pinhão to Pocinho offers a geology lesson. Along the slopes that flank the railway, you see the leptosol with its thin layer of soil above the parent rock.

The art of building dry stone walls is beautifully explained at the Wine Museum in São João da Pesqueira, a town whose historic center also deserves exploration. The visit whets the appetite for lunch at Toca da Raposa, in Ervedosa do Douro, about 8 kilometers away along the National Road 222, heading toward the mouth of the Torto River — another magical tributary that shapes the wines of the Douro, alongside the Pinhão River. In the summer, you can also book an unforgettable picnic at the Foz Torto estate with our friend Abílio Tavares da Silva.

António recommends reading “Taste the Limestone: A Geologist Wanders Through the World of Wine,” by Alex Maltman. You’ll return home with a deeper understanding of soils and their decisive role in defining terroirs across the world.

António Magalhães, keeper of Douro secrets

You might not be familiar with António Magalhães, the chief viticulturist of the famed Taylor-Fladgate port house, but if you enjoy exceptional port wines, you’ve likely experienced the fruits of his labor. António has worked for more than three decades in the rolling terraces of the Douro Valley. Throughout this time, nature has gradually revealed to him some of its winemaking secrets. Patience has been essential in this apprenticeship. It can take many years to grasp the impact of viticulture choices on wine production.

António is known for his thoughtful character and gentle disposition. But beneath this demeanor lies a powerful intellect–he has the rigor of a scientist, the curiosity of a historian, and the eloquence of a poet. He believes in combining scientific methods with traditional wisdom and has a deep reverence for the mysteries of winemaking. 

In collaboration with a statistician, António sought to unravel some of these mysteries, analyzing climate data since 1941 to identify weather patterns associated with vintage years, the finest for port wine production. They discovered that these years share three characteristics. First, the average temperature in July is less than 24.5 degrees Celsius. Second, two-thirds of the rain falls during the dormancy period (from November to February) and one-third during the growth period (from March to June). Third, there is less than 20 millimeters of rain in September. A small amount of rain at harvest time helps refine the grapes, says António, but too much rain in September fills the grapes with water and promotes fungal diseases. To António’s delight, they found that exceptional vintage years often deviate from the norm in unique ways, a testament to the magic of port wine.

Another facet of this magic is the art of blending. The Douro’s diverse microclimates provide winemakers with a rich palette to adapt to the annual variations in weather. They skillfully blend diverse varietals from vineyards with different locations, altitudes, and sun exposure. António has a profound understanding of the art of blending grounded on his comprehensive knowledge of the Douro subregions—the rain-soaked Baixo Corgo, the moderately wet Cima Corgo, and the arid Douro Superior. 

He has studied how grape varietals were adapted to counter the crisis created by phylloxera, an American insect that decimated European vines in the second half of the 19th century. The blight reached the Douro region in 1862-63 and became a severe problem in 1872. Farmers noticed that Mourisco, a varietal with lackluster enological properties, was the most resistant to phylloxera. For this reason, Mourisco was crossed with Touriga Nacional, considered the finest pre-phylloxera varietal, to create Touriga Francesa. The name, which means French Touriga, was likely chosen to honor the French school of viticulture and its contribution to creating phylloxera-resistant varietals. 

António also analyzed the various types of American vine roots brought from places like Texas to the Douro Valley to graft European vines and increase their resilience to phylloxera.

Since 1992, António has worked closely with David Guimaraens, the chief enologist at Taylor-Fladgate. Every year, António and David write several letters to the farmers who produce grapes for Taylor-Fladgate, offering insights into the vines’ current conditions and the most effective viticulture practices to respond to them. This educational effort is vital to the quality of the Taylor-Fladgate ports.

Concerned with the impact of heavy rainfall on soil erosion, António and David developed a new model for the terraces where the vines are planted. They had an epiphany while visiting the Benziger family, a biodynamic wine producer in California. It started to rain torrentially, and as they ran for shelter, they noticed that the rain was running with them. They realized that this kind of drainage, created by a three percent gradient, is what the Douro Valley needs.

António and David asked earthmoving companies to find a bulldozer narrow enough to fit in the terraces and capable of creating a three percent inclination. One of the companies found a second-hand machine used in rice plantations in the south of Portugal. The company’s manager called to say that the machine had an unusual device. “Bring it along,” said António. It turned out that the device was a laser that greatly simplified the task of creating a three percent slope. They later learned that the Benziger farmland had been graded by Chinese workers, who were likely to be familiar with the three percent inclination used in rice cultivation.

The Taylor-Fladgate farms stand out for their beauty because António is a sculptor of landscapes. He knows that cultivating a vineyard, planting a tree, or building a stone wall alters the scenery, and like an artist, he selects colors that harmonize, proportions that feel human, rhythms that please the eye.

António is passionate about researching the history of the Douro region. He often visits Torre do Tombo, a vast national archive with documents spanning nine centuries of Portuguese history. The writings of Álvaro Moreira da Fonseca (the creator of the vine quality scoring system still in use), the Baron of Fladgate, John Croft, José Costa Lima, A. Guerra Tenreiro, and many other Douro luminaries are his constant companions.

His extensive knowledge of history gives him a unique appreciation for the sacrifices made by generations of workers who have toiled in the Douro region. This understanding is evident in how António interacts with the people he manages. His sincere appreciation for their efforts earns him the loyalty and trust of his collaborators.

Today, António Magalhães retires as Taylor-Fladgate’s chief viticulturist. This milestone marks the beginning of a new chapter. We hope that António can now find the time to write a treatise on viticulture so that, as the climate continues to change, his erudition can illuminate the future of the Douro Valley.

Dining with Miguel Castro e Silva at Quinta de Ventozelo

We have for years admired chef Miguel Castro e Silva from the distance. We dined at his restaurants, read his cookbooks, tried his recipes (his marinated sardine preparation is a staple at our table). So it was a great privilege to have dinner with him at Quinta de Ventozelo

We met at Cantina, the restaurant that occupies the place where the old farm canteen used to be. Miguel arrived with a bottle of wine. “Do you want to try the wines I make at Ventozelo?” he asked as a way of introduction. Soon our glasses were filled with a white Viosinho from 2017 that is fresh and vibrant. It went perfectly with our first course, river fish “escabeche.” 

We told Miguel how much we had enjoyed the food we had for lunch in the picturesque esplanade of Cantina:  wild boar covilhetes (a version of the small pies popular in nearby Vila Real), a warm soup made with beets and apple, grilled octopus, and a peach tart that celebrated the natural sweetness of the peaches. We asked how does he manage to achieve such high standards in all his restaurants. Miguel told us that he inherited both his organization skills and creativity from his German mother. He writes meticulous recipes and coaches his cooks in their preparation until they meet his exacting standards.

Miguel started cooking professionally only at age 31. Born into a family of doctors in Porto, he was expected to study medicine. He studied biology in Germany but lost interest and became a musician. To earn a bit of money on the side, he started cooking. When he returned to Portugal, his friend Dirk Niepoort asked him to prepare food for his wine tastings. Dirk would describe the wines he planned to serve and Miguel had to come up with food that paired well with the wines. It was an experience that allowed him to perfect his cooking skills and learn a lot about wine. 

This enological knowledge is evident in the next wine we tried, a remarkable white that combines Viosinho with a blend of red varietals. It was a perfect complement to our second starter: a sausage called “alheira” topped with a fried quail egg. 

Miguel tells us that he is reviving and refining the cooking traditions of the Douro valley. Every Sunday, the cooks at Cantina prepare a roast in an oven fired with vine wood. The soup is made in old iron-cast pots on a large outdoor fire. All the ingredients come from the farm. The animals are naturally raised and everything from nose to tail is used in the kitchen.

Our main course, a suculent stewed rooster, was a perfect example of the refined, satisfying rustic food that Miguel is devising. It combined well with a delicate red wine aged in oak barrels previously used to make white wines.  

Several fruit-based desserts arrived. Once again, we admired the sparse use of sugar that gives the fruits their chance to shine. As the dinner came to an end, we made a few toasts with some old Dalva tawnies.

But there was one more thing. Miguel ordered a pot of tea. Ventozelo produces a wonderful gin with the aromatics that grow on the farm. Miguel had the idea of making an herbal tea with the same aromatics: lavender, lemon thyme, Portuguese thyme, and globe amaranth. It makes a fragrant infusion that was the perfect ending to a perfect meal. Thanks to chef Miguel Castro e Silva the food at Cantina is as spectacular as the view.

Click here for the web site of Cantina, the restaurant at Quinta de Ventozelo and here for Miguel Castro e Silva’s website.

A rested pudding

One of our favorite destinations in the Douro valley is a charming village called Ervedosa do Douro. Its main attraction is Toca da Raposa, a restaurant that prepares the traditional food served in local aristocratic homes. 

The ingredients are immaculate and the cooking is sublime. The preparations look deceptively simple, but they require knowledge of all the small details that make the difference between good and exceptional.

Dona Graça, a cook who worked for Douro families before opening Toca da Raposa with her children, has a large repertoire of recipes from the time when food was prepared in wood-fired ovens and cast-iron pans. We’ve been trying to convince her to collect these recipes in a cookbook. But codifying all her experience is a huge task and she has no time–the restaurant is always full.

Recently, Dona Graça started writing down some recipes. She shared one of these recipes with us. It is called Pudim de Laranja Descansado (rested orange pudding) because it takes time to prepare. You should try it only when you’re not in a hurry. We hope this recipe is the first of many pages that preserve Dona Graças’s culinary artistry.

Rested Orange Pudding

Pudding ingredients

7 eggs

300 grams of sugar

250 ml of freshly squeezed orange juice

Port-wine caramel

150 grams of sugar

50 ml of port wine

Mix the pudding ingredients at night and let the mixture rest. Cook the pudding in the morning.

To prepare the mixture, combine the eggs and sugar in a mixer. Three seconds after you start the mixer at medium speed, slowly pour the orange juice into the mixture. Once all the juice has been added, keep the mixer on for an extra 30 seconds or so, until you see foam made from small bubbles. Stop the mixer and use a wooden spoon to the pudding ingredients with a movement from top to bottom until you no longer feel any sugar at the bottom of the bowl.

Once the mixture has rested, make the port-wine caramel and use it to coat the pudding mold. Pour the mixture into the mold and place the mold inside a pan filled with two fingers of water surrounding the pan. Cook on the stove on a small burner at medium heat for 40 minutes. Take it out of the mold and let it cool. Enjoy!

Toca da Raposa is located at Rua da Praça in Ervedosa do Douro, tel. 254 423 466.

Quinta de Ventozelo

There is a new jewel in the Douro valley called Quinta de Ventozelo. The setting is not new, the estate has produced wine since the beginning of the 16th century. But there are 29 new gems–luxurious rooms with magnificent vistas located in various houses throughout the quinta. Some houses have old roofs built with the same schist used to brace the terraces that hold the vines. Others are built out of giant balloons that once stored 80,000 liters of port wine. 

The sprawling estate is the perfect place to create wonderful memories. Of the rolling hills descending towards the river to bade in its green waters. Of the breeze caressing the silvery leaves of the olive trees. Of the restful silence punctuated only by the sounds of nature. Of the joy of sitting outdoors at sunset savoring a glass of wine in the company of friends. 

You can drive to the quinta, but it is much more spectacular to take the boat from Pinhão and arrive at the dock by the river. Arriving is the easy part. Leaving is hard to do. 

Quinta de Ventozelo is located in Ervedosa do Douro, S. João da Pesqueira. Click here for the quinta’s website.

The Douro historical train

Our journey begins with the clatter of a steam engine pulling five rickety wooden carriages into the Régua train station. Trains like this one have trod on the steel tracks that connect Régua to Pinhão since 1879. In 1883, the line was extended all the way to Foz do Tua.

Once all passengers get on board, the chimney blows a cloud of black smoke and we see Régua recede in the distance. The train moves slowly and yet there is not enough time to take in all that there is to admire, from the myriad colors of the river to the wondrous vine terraces sculpted into the mountain sides. 

A group of folk musicians walks through the carriages singing traditional tunes accompanied by accordion, triangle, “cavaquinho” (a small stringed instrument), and a drum made out of goat skin and wood. The musicians’ faces are weathered by a lifetime of work in the fields. But they sing with joy the tunes that lift the spirits of the laborers during the harvest. 

We arrive at the Tua station and the train stops for a well-deserved rest. As our journey resumes, we marvel at the feat of 19th-century engineering that allows the train to go back without turning around. The locomotive’s engine simply goes into reverse, pushing the carriages towards Régua. We travel on the same tracks as before, but the landscape looks different. The light has changed and the blues and greens are now mixed with yellows and oranges. 

The train crew serves us a glass of port wine and some traditional candy. We stop at the picturesque Pinhão train station to admire the 1937 tile panels that depict in blue hues the inimitable colors of the Douro landscape. Then, it is time to return to Régua. The locomotive screeches and puffs as it reaches the place where our journey ends.

It is a privilege to travel in this relic of the industrial revolution that saw the world change and the beauty of the Douro endure. 

Click here for more information about the Douro Historical Train. You can buy tickets online. The best seats are on the right side of the train since you can see the Douro valley from your window both on the way to Tua and on the return.