What do you love most about Dvořák’s Cello Concerto?

We had a tape of the Rostropovich playing the Dvorak Concerto in the car when I was growing up, and I could never quite believe that a cello could play so high, so low, and so many notes at the same time! I love the massive orchestral tuttis, and the voice of the cello when it comes into focus in the music. It’s such a moving piece to perform, as there’s so much connection between the cello soloist, solo instruments within the orchestra (especially the horn, clarinet, flute and violin), and the orchestra as a whole. It feels like performing a huge chamber work!



About the Dvořák Concerto
The concerto is incredibly lyrical but also very powerful - how do you approach balancing those elements?

Dvorak was hugely skilled at balancing the orchestration so that the cello can really come through the orchestral textures, but this also needs a lot of attention from the conductor during rehearsals. There are many sections marked piano or even pianissimo, so one has to give the impression of playing extremely quietly, yet still make a quality of sound that projects. Performing the piece really makes sense of the years and years of studying technique. It’s no good for me to simply know how I want it to sound, I need the craft to be able to paint the art!

Do you have a favourite moment in the piece?

All of it! But if I had to choose, there are moments in the second movement which I find almost painfully moving.

Is there anything you particularly hope the audience listens out for?

I think the interactions between solo cello, conductor and orchestra. Sometimes it’s a lament, other times a dance, and here and there just a massive party. The human interactions watching an orchestra, soloist and conductor perform are far more exciting than any soap opera!!

Performing as a Soloist

How does it feel performing this concerto with a full orchestra compared to orchestral playing?

I’m lucky within the opera repertoire that I get a lot of cello solos, but obviously it’s a small part of what I do, and I love the camaraderie of working with my section and finding a way to play all as one. In many ways solo playing is so much more simple than playing as part of a big group because I can play exactly how I want, rather than realising someone else’s (the conductors) vision! 

What’s it like stepping into the spotlight as a soloist in a venue like BBC Hoddinott Hall?

I don’t find stepping out as a soloist all that different from arriving as part of a group- I think I’ll always just feel part of the group I’m playing in, or with! 

Having said that, I do love getting my own dressing room!! 

Your Musical Journey

What first drew you to the cello?

I started when I was very young (age 3) with the Suzuki method. My parents hadn’t had the opportunity to learn an instrument when they were young, and the Suzuki method includes them in the learning process. My older sister had already started the violin, so I was excited to start an instrument that was bigger and better!!

If someone is coming to hear the Dvořák concerto for the first time, what would you say to them?

There are a wealth of wonderful recordings that are easily available to listen to. Listen to the piece and get to know it before you come! The length of classical works can seem intimidating if you’re used to hearing shorter tracks, but if you recognise the music, this doesn’t have to be the case.

Final Thoughts



Why should people come along to the concert on 20 June?

Cardiff Philharmonic Orchestra is a wonderfully warm and enthusiastic group of musicians! We played together 2 years ago, and it was an absolute blast. The concert includes two absolute bangers: Dvorak and Stravinsky. I can’t think of a better evening out!