Sol_Gabetta_2017-4154 2018 © Julia Wesely

Sol_Gabetta_2017-4450 2018 © Julia Wesely

Sol Gabetta

Cello

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“Wit, aristocratic poise and elegance; mercurial shifts of mood, intensity and lightness of touch in near-miraculous balance”
(The Glasgow Herald)

Following recent debuts with the Berliner Philharmoniker, Los Angeles Philharmonic and the BBC Symphony Orchestra opening the BBC Proms, Sol Gabetta starts the season as Artiste étoile at Lucerne Festival. As part of her residency she will reunite with Wiener Philharmoniker and Franz Welser-Möst and join forces with Mahler Chamber Orchestra and François-Xavier Roth, and the London Philharmonic Orchestra directed by Marin Alsop. Later in the season she will tour extensively throughout Europe with Orchestra dell’Accademia Nazionale di Santa Cecilia and with the Royal Philharmonic Orchestra. A respected advocate for lesser known works, Sol Gabetta will tour Germany with Orchestre Philharmonique de Radio France illuminating Weinberg’s Cello Concerto under the direction of Mikko Franck. This season also sees Gabetta return to the Orchestra Filarmonica della Scala and hr-Sinfonieorchester, and premiere the newly commissioned Michel van der Aa Double Concerto with Patricia Kopatchinskaja and the Royal Concertgebouw Orchestra.

Sol_Gabetta_2017-4435 2018 © Julia Wesely — Sol Gabetta ©Julia Wesely

A sought after guest artist at leading festivals, Sol Gabetta opened the 2018 Schleswig Holstein Musik Festival with the NDR Elbphilharmonie Orchester and Christoph Eschenbach, and the 2018 Bad Kissingen Festival with The Deutsche Kammerphilharmonie Bremen and Paavo Järvi. Chamber music is at the core of Gabetta’s work, visible in recent appearances with the Hagen Quartet at Salzburg Festival, Tonhalle-Orchester Zürich, Elbphilharmonie and Wiener Konzerthaus. In the past, chamber music performances led her to venues such as New York’s Lincoln Center for the Performing Arts ‘Great Performers’ series with her longtime recital partner Bertrand Chamayou, Wigmore Hall in London, Lucerne, Verbier, Schwetzingen and Rheingau festivals, Schubertiade Schwarzenberg and Beethovenfest Bonn. She continues drawing inspiration from a wide circle of collaborators and musical encounters at the Solsberg Festival, which flourishes under her committed artistic direction.

Up-close | trailer © Michel van der Aa

Sol Gabetta - Shostakovich: Cello Sonata (excerpt) © Sony Music

Sol Gabetta - Elgar: Cello Concerto (excerpt) © Sony Music

Sol Gabetta - Vivaldi: Cello Concerto in G minor (excerpt) © Sony Music

“Gabetta, the glamorous central attraction, made a dazzling showpiece of Haydn’s C major Concerto, complete, thank you, with the composer’s own cadenzas. An Argentine of French and Russian descent, she commands the sort of technique that unravels even the fiercest knot with apparently nonchalant savoir-faire. Still, she never sacrifices sumptuous tone or histrionic persuasion in the process. Official blurbs describe her as “charismatic”; for once, the hyperbole does not seem hyperbolic.”

***** (Financial Times, August 2015)

“Sol Gabetta’s playing immediately cast a spell over the audience. She is at one with her instrument — her interpretation taking on an intensity of sound that informs the musical text. Her virtuosity sounds somehow playful and dexterous at the same time.”

(Trierischer Volksfreund, January 2013)

“[Sol Gabetta is] an exquisite soloist who plays with delicacy and sweetness.”

(La Verdad Murcia, January 2013)

“The night… belonged to the amazing Sol Gabetta, who appeared to possess, along with her flawless technique, an inexhaustible array of characterizations to lavish on, or find in, Tchaikovsky’s variations. Wit, aristocratic poise and elegance; mercurial shifts of mood, intensity and lightness of touch in near-miraculous balance; broad brush strokes and finely-drawn lines.”

(The Glasgow Herald, May 2009)

“Gabetta had the full measure of this work, its bravura elements delivered with complete assurance and breathtaking élan. She was equally good in the softer passages, the slow movement as intimate and personal as one could wish.”

(The Calgary Herald, March 2009)