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Sol Gabetta

  • Cellist


Sol Gabetta press reviews

Sol Gabetta’s concert in Aspen August 2010

"Friday evening in a beautifully programmed Aspen Chamber Symphony concert, cellist Sol Gabetta made the biggest impression with a 7 1/2-minute encore that had everyone buzzing at intermission. The piece was “Dolcissimo,” an excerpt from the Latvian composer Peteris Vasks’ Gramata Cellam. Using high harmonics, fluttering trills, a singing tone on the cello and her own clear, fresh-sounding soprano providing the melody the second time around, Gabetta entranced musicians and audience alike with remarkably communicative, delicate music making.
The slender, blond-haired Argentina-born cellist made her Aspen debut with Lalo’s dramatic Cello Concerto in D minor, matching fire with the aggressive approach of conductor Robert Spano. There’s plenty of power in that winsome frame, and it came through vividly in the concerto [...]. But it was the encore that put a quiet exclamation point on Aspen’s discovery of a new talent."

(musicweb, Aspen Music Festival 8/2010)




CD Feature/ Sol Gabetta: "Elgar"

“In every regard this is an outstanding CD. The recording quality is impressively clear yet warm, the orchestral playing well-boned and incisive, and the repertoire extremely varied. Sol Gabetta shines at every turn. Her technical command is absolute – as a pupil of Monighetti and Geringas, the legacy of Rostropovich seems firmly in place. More importantly, her nuance on shaping phrases is tasteful and expressive, and her sense of line always follows for a forward impetus in the music. Her impassioned playing of Respighi Adagio con variazioni fully exploits the music’s lyrical aspects, while Dvorak’s Waldesruhe is particularly evocative, and she brings a sense of rustic verve to the same composer’s Rondo, again delivered with impeccable assurance. Elgar’s Cello Concerto has a burdensome legacy of interpretations, but Gabetta is wonderfully uninhibited by such issues. She presents an eloquent yet unmannered performance, with the technical components of the second - movement Allegro Molto served with a Mendelssohnian, fleet-footed delicacy. Her adagio is magically poignant and caps what is a benchmark interpretation. The salon pieces by Elgar orchestrated by Soren Barfoed are equally expressive, although occasionally the brass interjections jar. Peteris Vasks Gramata cellam for solo cello provides an enticing bonus – it’s an impressive composition that also demonstrates  Gabetta’s natural empathy for contemporary music. Trmendous.”

(The Strad)

„This 29 year-old Argentinian-born cellist brings a fiery sensitivity to Elgar’s great concerto. There are times, particulary in the first movement, when her playing is reminiscent of the late Jaqueline du Pre’s recording. The sheer tonal beauty of her rare Guardagnini instrument… is almost overwhelming in the works last movement.”

(The Daily Expres)

"Unlike stars whose live appearances sparkle with charisma, but whose recordings leave one cold, Gabetta on CD keeps the promise of Gabetta live. For Elgar's mood pictures of melancholy wit, twilight and lament she mobilises all her powers. The result is nothing if not gripping."


"Sol Gabetta is one of the most successful and most enigmatic stars in the Classical heavens. She has held on to her wonderful informality."



Sol Gabetta’s concert in Glasgow, May 16th 2009

„Argentinian cellist Sol Gabetta, who first enthralled and entertained a huge RSNO audience on Saturday night with a mind-boggling account of TchaikovskyŽs Rococo Variations, then mesmerised the vast crowd into absolute stillness and hush with her encore, gets five stars and any spares left in the basket. […] The night […] belonged to the amazing Gabetta, who appeared to possess, along with her flawless technique, an inexhaustible array of characterisations to lavish on, or find in, Tchaikovsky`s Variations. Wit, aristocratic poise and elegance; mercurial shits of mood, intensity and lightness of touch in near-miraculous balance; broad brush strokes and finely drawn lines: the Rococo Variations from this emerald-clad beauty had the lot, with lashings of style. The encore, Dolcissimo, by the fine Latvian composer Peterisk Vasks, an endlessly haunting meditation requiring extended techniques and beautiful vocalising from the cellist, was heart-stopping and the talk of the night.”
(The Herald)

“Argentinian`s cello ability impresses”
“[…] the brilliance of young Argentinian cellist Sol Gabetta, whose impact on the event was stupendous. TchaikovskyŽs Rococo Variations is very much a mini concerto but as a means of demonstrating brilliant technique and skill is tailor-made for talent like Ms Gabetta. Most of the seven variations on a beautiful but straightforward melody demand the ability to make furious advances from lower register to the top-most heights, and this she did with real style and flamboyance. […] The encore that followed was even more eye-opening. Peteris Vasks`s composition for solo cello. […] Not only was Gabetta`s touch and grace in this piece enthralling, she also sang in a crystal-clear soprano voice.”
(Dundee Courier)

“Listening to it [TchaikovskyŽs Rococo Variations] last night you would have thought it had been written for Sol Gabetta. A charismatic performer, she held the work up for our delight in all its elegant glory. A performer of impressive power and control, she responded to the stupendous applause with an astonishing encore during which she accompanied herself on the cello by singing.”
(Press & Journal)


Sol Gabetta’s concerts in Washington, June 2008

“Gabetta's tone was rich and lovely, her playing is impressive. Sol Gabetta`s and Yo-Yo Ma`s performance felt like an emotional highlight.”
(Washington Post, 30.6.08)

“Fabulous young cellist Sol Gabetta attacked this challenging music, Shostakovich's Cello Concerto No. 2 Op. 126, with great passion, enveloping her instrument like a willowy reincarnation of the late Jacqueline du Pré.”
(Washington Times, 29.6.08)


CD Feature/ Sol Gabetta: "Il Progetto Vivaldi"

The range of emotions is immense: Sol Gabetta is experienced enough not to believe in fairy tales. (


Press: Debut CD (Tschaikowsky, Saint-Saëns, Ginastera)

“The phenomenal violoncellist enchants with immaculate intonation, a wonderful warm sound and poetic expression.”
(Neue Zürcher Zeitung)


„with her spirited play she is long regarded as an insider’s tip among the musicians of her generation.”
(Vogue, Germany)


„One does not hesitate to compare her with the Greatest anymore.”
(Res Musica)


“Technically her playing is immaculate, and the fast variations are dispatched with real brio in spotlessly clean intonation. But above all it is her bowing control – so quickly changing the colour of a note – that impresses. Even with the bast choice of recordings available I would happily commend this as your library version.
David Denton
(The Strad Magazine, November 2006)


"Strings full of Latin Drive - Sol Gabetta plays the Violincello with Verve and Delicacy"
(Madame, 11/2006)


CD of the week
“…she gives as fetching an account of the Tchaikovsky Rococo Variations as I have heard in a decade….Decidedly one to watch”. NORMAN LEBRECHT
(The Evening Standard, Sept. 2006)


"A fresh breeze for the somewhat dusty classical music bizz. The 25 year old Argentinian violin cellist Sol Gabetta has so much fun and verve displaying her art that old pieces of classical music all seem refreshed as if never heard before. For her debut album "Sol Gabetta" (RCA Red Seal) she has chosen works by Tchaikovsky, Saint-Saens and her compatriot Alberto Ginastera."
(Brigitte, Oct. 2006/translated from German)


"The Argentinian cellist Sol Gabetta, in her mid-twenties, can sing with four strings, tell lively stories, crow dramatically, shine with playful technicality and turn a cello line into her own question-and-answer game in just a few measures.
(Frankfurter Allgemeine Zeitung, July 2006/translated from German)