At the Chorégies d’Orange, on July 15 in Cour Saint-Louis, the concert of Classic Revelations of the Adami will take place. The cellist Jérémy Garbarg is part of this 2019 promotion which sees the doors of the lyric festival open. He will be joined by pianist Vincent Mussat, violinist Marie-Astrid Hulot, bassoonist Rafael Angster. But also the soprano Amandine Ammirati, the mezzo Lise Nougier, the tenor Sahy Ratia and the baritone Timothée Varon.

Jérémy Garbarg is part of the new generation of cellists. It is part of a tradition or continuity for this stringed instrument which has left a line of renowned performers. He has just been awarded from the Classic Adami Revelations. When you know that only one musician per instrument is recognized by the organisation and that only four instrumentalists compose a promotion, that is to say if the level is very high.

If some dream of being an international concert performer and playing on the main stages, it is not Jérémy Garbarg’s ambition for whom success and fame will not fill the void and the loneliness that they generate most often: “We meet a lot of people and these are relationships that develop. It is not what interests me to travel alone, not to have a family life. The form of the quartetist or chamber musician life suits me better and also this approach to music.
When he was younger, he wanted to play the harp for a while, but his mother playing the cello encouraged him to tip the scales toward the cello: “I decided to become a professional quite late. I am very lucky, Adami Revelation label opens doors by being recognized.
Being a revelation Adami allowed him last summer to participate in the Prades festival, a event built by Pablo Casals: “If only I could play like him until 92 years old. Participating in this festival is a chance when you see the panel of artists present… “He is especially pleased with the links that have been forged between artists:” We got along very well and we had the idea of set up projects together and meet regularly.

More than Pablo Casals, Jérémy Garbarg more readily quotes Yo-Yo Ma, especially to evoke the Bach Suites for his instrument: “It is a compulsory passage. I won’t record it now, I need some maturity. Many cellists like Yo-Yo Ma recorded the suites as a young performer, then with experience and later. As Yo-Yo Ma has done one recently.

Jérémy Garbarg slips that this maturity is the fruit of a solitary work, in his room to read and study the scores. He returns to this necessary solitude of the artist. He does not believe in talent, he believes in repeated work at will which allows to restore the gesture and the assimilated technique from a very young age: “I could also benefit from an adapted class when I was in high school, from meet up with instrumentalists and meet my great teacher.

Jérémy Garbarg also evokes the character necessary to reach the end of his ambition: “Yes! It is important to be determined and to acquire discipline from a very young age.

Ventoux-Opéra, Bruno Alberro
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