Finnish conductor Santtu-Matias Rouvali is quietly carving out a meaningful and lasting relationship with Amsterdam’s Royal Concertgebouw Orchestra. Following his debut in 2020 and return visit in March 2025, tonight’s concert with audience favourite Sol Gabetta is the first of three, concluding in Brussels’ Palais de Beaux-Arts later this week. Returning again with pianist Vikingur Ólafsson in August, Rouvali will lead the orchestra on tour in Lucerne, Grafenegg, Warsaw and Monheim am Rhien’s new Kulturraffuerie 714, before concluding to the Philharmonie de Paris. Judging from the reaction on stage, the decision seems popular.
The programme
Sol Gabetta plays Martinů
Dvorak’s bright and breezy In Nature – last performed by the RCO in 1941 – featured tantalizing woodwind solos and delicate triangle tings opened proceedings, before Argentinian cellist Sol Gabetta descended the Concertgebouw stairs for Martinů’s rarely heard First Cello Concerto. So rarely heard in fact, that it has featured on just two previous RCO programmes, both with cellist Pierre Fournier. The first in January 1952 with Rafael Kubelik followed some years later under Bernard Haitink in 1972. Tonight’s programme it seems is an evening of neglected rarities.
Adopting a distinctly American Wild West swagger – perhaps timely for Martinů’s final 1955 revision – Gabetta’s cello set off apace. Only in the more sedate and gentler second theme did she really come into her own. And in contrast to the overt Romanticism displayed three weeks ago on tour with the Czech Philharmonic playing Elgar’s Cello Concerto, tonight in Martinů’s neo-classical score, her more humorous side found voice as she delighted in cheeky, delicious slides. Whilst some of the faster passages were lost in the Concertgebouw’s generous acoustics, this didn’t stop the joy or moments of quiet solitude from taking hold, especially when joined by principal cellist Gregor Horsch and principal violist Santa Vižine.
Colourful orchestration to start the second movement – just a clarinet, bassoon, trumpet and muted trombone – gave an enticing introduction for Gabetta’s searing melody. Her repeated high notes, resting seductively abreast shifting waters, gave pause for further reflection before a gentle sway from the podium and relentless scales interspersed with truly special melodic fragments, signalled the final approach. Will it be another forty years before this concerto sees the light of day?
Three ovations later, Gabetta bowed out with Rogelio Huguet i Tagell’s Flamenco from his Suite espagnole No. 1.
The encore
Stravinsky and Ravel
The mood after the interval could not have been more different. Whilst Stravinsky’s playful yet fragmented neo-classical Jeu de Cartes saw playing of the highest order, and despite Rouvali’s obvious enthusiasm and skill navigating an endless stream of disparate fragments, rather like the Martinů before, there is probably a very good reason why these works are so rarely performed. And why quite unusually, there were a number of empty seats in the house.
However, as orchestra numbers swelled, Ravel’s Daphnis and Chloe Suite no. 2 chirping birds at the break of dawn opened heaven’s doors, and the evening felt complete. As the piccolo took flight, what a joy it was to see Rouvali at the helm, gently coaxing this mightiest of beasts. The RCO’s bottom line so resonant that one could be mistaken for thinking the Concertgebouw organ had joined the party. Time and time again, he caressed and cajoled with climaxes so radiant, the sun itself might burst. Playing from original parts first used for the Dutch premiere in 1917 under William Mengelberg, Kersten McCall’s pure flute solo gave way to a sensuous alto flute and jocular Eb clarinet before Rouvali incited one last and very regal storm. Glorious wonder filled the hall.
Some of the original parts
Clare attended the Concertgebouw on Wednesday 13th May 2026
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