»....ihr Ton ist faszinierend. Er ist auf Energie und Elan aus. Beiläufiges gelingt Gabetta nicht, sie will es auch nicht. Daraus erwachsen große Momente. Phrasen von immenser Dichte, von Kraft und Klarheit, getragen von einem Klangideal, das nicht nur Schönheit will, sondern Leben.«
“Conductor Marin Alsop and guest soloist Sol Gabetta offered an unofficial opening to springtime with Sunday’s Matinee Series at Strathmore, featuring a Baroque cello concerto, not one but two last waltzes, and a tone poem cum operatic suite. There was some sort of logic to the programming – famous transpositions, unearthed masterpieces, or changing of worldviews – but at the end of the day it was all about good music. And there was plenty of that to go round the very full house.
Athletes when at the top of their game are said to be in a zone; total concentration, heightened consciousness, and ease of performance are evident in achieving their goals. That kind of effort was on display from Sol Gabetta, and by extension the chamber-sized BSO under the direction of Marin Alsop, in Hayden’s Concerto in C Major. The early Hayden work, only discovered in 1961, doesn’t get as much attention as its more favored D-Major sister due to the technical demands, but all parties were equal to the task on this given Sunday.
The three-movement gem was introduced by the strings with superb tonal quality after which the soloist took the spotlight and held it for the duration. Swaying and graceful, Ms. Gabetta coaxed a sumptuous sound out of her instrument, employing far-ranging string work, with rapid-fire notes and superb articulation, all with minimal bowing. A show-stopping cadenza – there would be another after the lovely Adagio – was the highlight of the piece, where Ms. Gabetta rhythmically stroked, plucked, and beat the strings while tapping her instrument like a Flamenco guitarist. The final sections were riveting, and Conductor Marin Alsop integrated the BSO at all times in a delicate and sensitive accompaniment. A pair of rousing curtain calls got Ms. Gabetta to play a lovely encore for the lucky audience, a cello collaboration with four of the top chairs.”
- Drama Urge, John F. Glass, 23.03.2015