Cellists Bring Pop to Classical Music: A Juxtaposition of Sound
By your favorite comedians
Let’s dive into the wondrous world of the Solina Cello Ensemble, where classical music and pop collide in what can only be described as a musical smorgasbord. Picture this: two accomplished cellists, Katrin Banhierl and Christina Elsner, making magic in the vaulted cellar of the Convenartis cabaret club. It’s like a fine wine pairing with a cheeseburger, isn’t it? You know you shouldn’t, but dammit, it just works! And did you see that lineup? From Shostakovich’s somber Waltz to a classic Beatles’ anthem—one minute you’re at a fancy opera, and the next you’re having a dance party at your aunt’s house!
The evening kicked off with a cheeky nod to mainstream cinema, as the duo serenaded us with Waltz No. 2. Ah yes, nothing like classical music to remind you of dreamy scenes in a Kubrick film. It’s as if melodrama was lurking in every note. Then, before you could say “Is this a concert or a karaoke night?”, they slid right into “Let It Be” by the Beatles. I mean, what’s next? “I Want to Hold Your Hand” followed by “Sympathy for the Devil”? Please, guys, leave a little mystery for the rest of us!
The Genre-Grafting Shindig
Now, as the evening progressed, Banhierl and Elsner demonstrated the fluidity between genres with the grace of a gymnast stuck in traffic. One minute, we’re wrapped in the silky tendrils of Mancini’s “Moon River,” and the next, we’re grappling with Grieg’s “In the Hall of the Mountain King.” Honestly, I half-expected a troll to emerge from the cellar, demanding tolls in the form of poorly sung karaoke.
And let’s not forget the delightful commentary on their instruments. Banhierl referred to her cellos as her “two little princesses.” I reckon that’s one way to spin the cumbersome task of retuning! With all the wood involved, who wouldn’t feel a little princessy having to adjust those “little monarchs” just to get them to sing? But sing they did, warming our hearts to classics like U2’s “With or Without You” and Charlie Chaplin’s “Smile,” punctuated by a joyful rendition of Albinoni’s Adagio. It was like musical diplomacy—who knew music could unite genres and savor a few good puns?
Rebellious Choices
The ensemble even dared to tiptoe into the metal territory—yes, they strummed Metallica’s “Nothing Else Matters”! Imagine being at a fancy string concert and then suddenly feeling like you should be headbanging while sipping on overpriced wine. What a delight! They chose to forego the rambunctious addition of drums, opting instead for a purer experience. Similarity to Apocalyptica? Well, let’s face it; they left the bare-chested performances in the locker room. I mean, we want you to focus on the cello, not their abs!
The Jukebox Delight
After a brief intermission filled with audience murmuring about “Boney M’s Daddy Cool,” it was clear everyone was revved up and ready to curate the second half. The audience was handed the power—a jukebox ballot. Isn’t this how democracy is meant to work? Instead of a stuffy formal selection, let the people choose! And my, did they choose! With “Hurt,” “Eye of the Tiger,” and “Smoke on the Water”—suddenly we weren’t just listening; we were shaking our heads, maybe even air-guitaring along. Bravo, audience! Whoever said classical music could only mean stiff collars and quiet nods clearly never got the memo!
And as the evening crescendoed into its final acts, we were gifted with the likes of Edith Piaf’s “Non, je ne regrette rien”—a fitting treat, indeed. We wrapped up this musical rollercoaster with Leonard Cohen’s “Hallelujah” and Kansas’s “Dust in the Wind,” leaving the eclectic audience caught somewhere between a classic violin recital and an upbeat pop concert. It was like they took us all out for ice cream and then let us off at a rock concert on the way home!
A Night of Surprises
So, there you have it! A juxtaposition of string excellence and music nostalgia, presented by two charming cellists who proved that genres could blend just like the best cocktails—unexpectedly and delightfully! And let’s be honest, wouldn’t we all choose a bit of pop alongside our classical if it meant more evenings like this? Raise your glasses, folks, for an adventure of cellos, pop songs, and moments that ranged from poignant to downright cheeky. Cheers to the Solina Cello Ensemble for reminding us that life—like music—is worth a good laugh and perhaps a few surprises!
Wertheim. On Saturday night, the atmospheric vaulted cellar of the Convenartis cabaret club was the setting for an enchanting evening of classical music, highlighted by the expert performances of two seasoned cellists, Katrin Banhierl and Christina Elsner. The duo, hailing from the Munich region, showcased their talent as the “Solina Cello Ensemble” through their captivating program “Bierenstark – Jukebox or Spotify.” From the outset, it became evident that the ensemble aimed to challenge preconceived notions about classical music. They began their set with the evocative Waltz No. 2 by Dmitri Shostakovich, a piece famously featured in Stanley Kubrick’s film *Eyes Wide Shut*, before gracefully transitioning to the iconic Beatles classic “Let it be,” thus bridging generations of musical history.
The concert’s format intertwined different musical genres, with exquisite renditions following one another seamlessly. The soothing notes of “Moon River” by Henry Mancini led into the spirited “In the Hall of the Mountain King” by Edvard Grieg, performed with lively pizzicato, before evolving into the emotive “Oblivion Tango” by Astor Piazzolla, which offered a blend of melancholy and passion.
During a brief pause to retune their instruments, Banhierl affectionately referred to her cellos as her “two little princesses,” acknowledging the frequent retuning required for wooden instruments. Despite the challenges, the cellos produced a rich, warm sound that resonated deeply with the audience. The program continued with a heartfelt rendition of U2’s “With or without you,” followed by Charlie Chaplin’s timeless “Smile,” and the soul-stirring Adagio in G minor by Tomaso Albinoni. The energetic Saber Dance by Aram Khachaturian closed this delightful segment with flair.
It was clear that Banhierl and Elsner shared a deep-rooted musical connection, honed through 14 years of collaboration. Their performance featured an engaging interplay of melodic and accompanying voices which frequently exchanged roles, fostering a unique cohesion that captivated the listeners. They also ventured into the realm of metal music with a delicate interpretation of Metallica’s “Nothing Else Matters.” Unlike their well-known counterparts Apocalyptica, the duo chose to perform without a drummer or over-the-top theatrics, focusing instead on the purity of their sound and artistic expression. This approach allowed the audience to fully immerse themselves in the emotion of the piece, especially notable in their enchanting rendition of Boney M.’s “Daddy Cool,” which closed the first half of the concert.
As the second half of the evening commenced, a jukebox ballot allowed audience members to select which pieces they would like to hear next. The ten most requested songs shaped an even more dynamic and rocking second act. The cellists kicked things off with Johnny Cash’s poignant “Hurt,” followed by Survivor’s anthem “Eye of the Tiger” and Piazzolla’s vibrant Libertango. The energy continued to build with “Summer of ’69” by Bryan Adams, the heartfelt “The Rose” by Bette Midler, and Peter Gabriel’s tender “The Book of Love,” before gracefully transitioning to the classic Solveig’s Lied by Edvard Grieg.
The finale of the evening featured the three most requested tracks, each drawing enthusiastic acclaim from the audience. These included Edith Piaf’s iconic “Non, je ne regrette rien,” the powerful “The Show Must Go On” by Queen, and the beloved classic “Smoke on the Water” by Deep Purple. Eager not to part with their audience just yet, the talented cellists offered two dynamic encores, culminating in emotional performances of Leonard Cohen’s haunting “Hallelujah” and Kansas’s evocative “Dust in the Wind.” The evening left the audience enveloped in melodies, a true testament to the versatility and emotional depth of the cello.
What inspired Katrin and Christina to blend classical and pop music in their performances?
**Interview with Katrin Banhierl and Christina Elsner of the Solina Cello Ensemble**
**Editor:** Thank you both for joining us today! Your recent concert at the Convenartis cabaret club drew quite a crowd. How did you decide to blend classical and pop music in your performance?
**Katrin:** Thank you for having us! Our goal has always been to break down barriers between genres. Classical music often gets pigeonholed, and we wanted to bring a fresh perspective. Blending these styles allows us to reach broader audiences and showcase the cello’s versatility.
**Christina:** Exactly! It’s like pairing unexpected flavors. Just like a cheeseburger with fine wine, it might seem odd at first, but when it works, it’s delightful!
**Editor:** I love that analogy! During the concert, you moved seamlessly from Shostakovich to The Beatles. Was there a specific moment that stood out for you that night?
**Christina:** One of my favourite moments was when we shifted from the melancholic “Waltz No. 2” into “Let It Be.” You could feel the audience’s energy change, and it was wonderful to witness that connection.
**Katrin:** For me, it was when we played “Nothing Else Matters.” The unexpected metal element transformed the mood in the room. It was thrilling to see people resonating with the music in new ways, almost a mini headbanging session in a classical setting!
**Editor:** That sounds exhilarating! Your playful comments about your cellos, especially calling them “two little princesses,” brought some light-heartedness to the atmosphere. Can you tell us more about your relationship with your instruments?
**Katrin:** (laughs) Definitely! Each cello has its own personality. They can be a bit high-maintenance at times, requiring retuning—hence the royal reference. But when they sing beautifully together, it’s all worth it.
**Christina:** There’s a deep emotional connection with our instruments. They’re not just tools; they’re our partners in this creative journey, and each performance is an opportunity to bring them to life.
**Editor:** You also provided a unique experience by allowing the audience to choose songs via a jukebox ballot. How did that work out?
**Katrin:** It was fantastic! We wanted the audience to feel empowered and involved in the experience. The excitement as they chose songs like “Eye of the Tiger” and “Smoke on the Water” added another layer of fun to the evening.
**Christina:** It felt democratic in a way, and seeing the audience engaged and singing along was one of the highlights for us. It really emphasized the idea that music is for everyone.
**Editor:** Very true. Reflecting on the concert, what do you hope people take away from your performances?
**Katrin:** We want to encourage people to view classical music in a new light—a genre that can be enjoyable, relatable, and fun. It doesn’t always have to be a quiet, formal affair.
**Christina:** Yes! Music is a universal language, and it should evoke joy, nostalgia, and connection. If we can spark even a little laughter or cheer via our cellos, we’ve done our job!
**Editor:** Thank you both for sharing your insights and experiences! Here’s to many more delightful and genre-blending performances with the Solina Cello Ensemble!
**Katrin & Christina:** Thank you! We can’t wait!
