Presse.

«It has been one of the greatest pleasures to listen to the following two duets: Johann Adolf Hasse “Cleofide” und “Pietro Torris”: just wonderful and brilliant even showing a sparring with boxing gloves, which was followed by “Amadis” played with rather a consciliatory note. The Capella Gabetta orchestra (conducted by the brother of Sol Gabetta, Andrés Gabetta) is pouring petrol on the flames of this dispute. As an encore the singers scored a great coup: a medley of ABBA songs on historical performace practice.»
Kieler Abendblatt 24.07.2014


«Supported by the very agile baroque orchestra “Capella Gabetta” both stars presented an entertaining skirmish, due to their coloratura soprano they alternately fired one salvo after the other at the audience.»
24.07.2014 Die Welt


«This duet was able to show a perfect dispute in harmony. No surprise at all since the original sound team of Capella Gabetta proved once again its most congenial instrumental playing.»
12.08.2014 Wiener Zeitung


«The “Rival Queens” coloratura soprano acrobatics would have achieved only half the size of its breathtaking level without the phenomenal baroque orchestra “Capella Gabetta” conducted by Andrés Gabetta (the brother of the famous cello player Sol Gabetta). This orchestra was able to create the necessary instrumental tornado and is therefore the ideal companion to the vocal altitudes.»
22.07.2014 Frankfurter Neue Presse


«Who deserves the honour? Kermes, who did a challenging job when putting a stunning spotlight on the highest peaks and she was even brilliant in showing hard dynamic contrasts. Or Genaux with her warm cantabile mezzosoprano also taking into account the elegiac aspects, with her special vocal technique she was able to create amazing effects between trills an vibrato. Or even Andrés Gabetta, the laughing third party, according both divas the utmost attention? His orchestra followed smoothly each singer and answered to the musical themes either with a velvety string sound or with an unequivocal gesture. And even as the horns without valves came into action, the instrumental happiness became perfect. 21.07.2014 NZZ

Il Progetto Vivaldi 3

«Once again on this album, Sol Gabetta displays her exceptional talent. The tones she elicits […] from her instrument are as imbued with virtuosity as they are with soul. Her phenomenal technique is nothing less than sublime. Even in the rather brisker movements, she succeeds in summoning a warm, vocal tone from her cello. This is all accompanied in a wonderfully transparent and accentuated way by the Cappella Gabetta, the early music ensemble of her older brother, the violinist Andrès Gabetta. This is an album which has just as much to say to connoisseurs of baroque music as to newcomers.»
BR Klassik on the CD I Progetto Vivaldi 3, 9/9/20133


«Sol Gabetta and her fellow-musicians […] have found their own 'Vivaldi and Co.' tone, [...] somewhere between precise articulation and a spontaneous desire for musical embellishment […] the musicians interact with complete confidence in one another, and are perfectly coordinated in terms of articulation and phrasing.» Fono Forum on the CD I Progetto Vivaldi 3, 10/2013


«Sol Gabetta and the Cappella Gabetta […] play with fire and flame.»
WDR 3 TonArt on the CD I Progetto Vivaldi 3, 25/9/2013

A tribut to Faustina Bordoni

«Genaux revels in the music's cadences and ornamentation with a warm, mellow voice such as Bordoni herself is reputed to have had.
The works of Hasse and Handel bear wonderful testimony to Bordoni's vocal prowess. Handel worked very closely with her in London for two years, whilst Johann Adolph Hasse married and wrote his greatest stage hits for her. Both composers were particularly adept at bringing Bordoni's strengths to the fore, and today's vocalists face the daunting task of living up to her. In this, Genaux definitely succeeds: she handles breath-taking coloratura passages with no signs of fading, interprets the music with all the baroque arts of ornamentation, and produces a fresh, lively rendition. She is supported in this – in the best sense of the word – by the Cappella Gabetta.
The CD also includes two overtures by Hasse, which give the early music ensemble a chance to shine on its own merits.»
NDR Kultur on the CD 'A Tribute to Faustina Bordoni', 19/11/2012

Il Progetto Vivaldi 2

«One almost felt one's teeth chatter: the beginning of «Winter» from Vivaldi's «Four Seasons» has never sounded as bone-chilling and edgy as in the interpretation by the Cappella Gabetta. Nor has it ever opened with such muted tones before swelling and subsiding again and again with a sense of threat, so that an icy wind seemed to blast straight out from the podium [...]. It is scarcely credible that this ensemble formed only last year, so inspired is the interaction between the musicians, and so well do they communicate.»
Stuttgarter Nachrichten on the concert at the Beethovensaal in Stuttgart, 23/12/2011


«Its trump cards are an impetuous temperament, a roguish pleasure in performing, a stirring rhythmical rigour and almost boundless virtuosity.»
Neue Zürcher Zeitung on the New Year concert at the Tonhalle Zurich, 4/1/2011


«This is pure baroque, now with an exuberant lust for life, now with melodious devotion, closely imitating the human voice; the music of the Gabetta maintains a wonderful balance between courtly noblesse and virtuoso bravado...»
WAZ on the CD Il Progetto Vivaldi 2


«Beautiful, intelligent (proficient in six languages!) and with an exceptional talent: many regard the cellist Sol Gabetta as the true successor of the legendary Jacqueline du Pré. With 'Il Progretto Vivaldi Due', the Argentinean now follows seamlessly in the musical footsteps of her earlier album from 2007. An elegant performance, with spirited tempi and charming melodies – interpretations of Vivaldi's music don't get more virtuoso than this.»
German Magazine 'Freundin' on the CD Il Progetto Vivaldi 2


«Among other things, her new CD features two cello concertos specially composed by Antonio Vivaldi for the nobility. And even a premiere recording: the Concerto in D minor by Giovanni Benedetto Platti from the late baroque period. Entrancing music with tuneful melodies in the first movement, an Adagio redolent with bitter-sweet harmonies, and a stormy final fugue.» (5 out of 5)
Financial Times Deutschland on the CD Il Progetto Vivaldi 2


«Gabetta: For the baroque connoisseur. […]The outer movements of Platti's Concerto in D minor in particular astound the listener with their mastery of counterpoint, which betrays a deep familiarity with the compositional techniques of Bach. Once again, Sol Gabetta – with the stylish and confident support of the 'Cappella Gabetta' under the baton of her brother, Andres Gabetta – has been lent a 1781 Gagliano cello strung with gut strings for the recording. This imbues her playing with a particularly warm tone. She seeks neither to achieve superficial brilliance nor to tug at the emotional heartstrings. Instead, she submits herself nobly to the piece, with technical perfection and a total lack of personal vanity. A veritable feast for anyone with a taste for the baroque.»
Osnabrücker Zeitung on the CD Il Progetto Vivaldi 2