I’m writing to you from the second Adelaide International Cello Festival – a musical feast of concerts, recitals, lectures, masterclasses and more. I flew in last night, suitcase and cello in hand, just in time to see an idol of mine, Pieter Wispelwey, perform a marathon programme of Brahms, Schubert, Ligeti and Stravinsky followed by no less than three encores. A true performer, Wispelwey’s playing spoke to the audience. His extreme left-hand virtuosity was complemented by impressive bow control evident particularly from the sustained opening notes of Schubert’s Fantasy in C.

What I enjoyed most about Wispelwey’s performance was the deep and compelling sense of his own personality that he so effectively conveyed through the music. From his occasional flamboyant bow flourishes at the ends of phrases to the freedom in his approach to Stravinsky’s Suite Italienne, he wasn’t afraid to push boundaries. In case the concert itself wasn’t enough of a treat, complimentary wine awaited us afterward, followed by an 11pm performance by Wispelwey of Bach’s Fifth Suite. If only every day could end in such a sublime way!

After such a musically fulfilling evening the night before, I couldn’t resist taking my time strolling through town on this beautiful, warm morning in Adelaide. The day began in the Elder Hall with a masterclass featuring renowned Australian cellist and pedagogue Howard Penny. We were treated to a number of student performances of excerpts from the Schumann Cello Concerto and Debussy Cello Sonata. This was followed by a master class in Bonython Hall by Martine Bailly, principal cellist of the Paris National Opera.

Today’s concert for Lunchtimes at Elder Hall – an extremely popular series here in Adelaide – featured cellist Gabriel Schwabe accompanied by Kristian Chong. There wasn’t a spare seat in the house and dozens of patrons remained in the foyer to listen to the concert broadcast through speakers. At only 23 years of age, German-born Schwabe boasts an impressive collection of awards and notable solo appearances. His programme began with a refined performance of Schumann’s Fantasiestücke. What I found his performance lacked was a sense of freedom and flexibility. His was a well prepared, technically brilliant package, but I was left waiting for him to break out of this and truly connect with the audience.  Whatever I felt he lacked in the Schumann was most definitely made up for in Britten’s Cello Suite No 1. For this, his somewhat introverted approach was apt and kept the audience captivated as his vision of the work unfolded. Unsurprisingly Piazzolla’s Le Grand Tango was a hit, even if it could have benefited from a more naturalistic approach. Regardless, those who were there undoubtedly witnessed a promising young talent who we’ll be sure to be hearing more of in the future.

More cello adventures tomorrow!