PIERRE FONTENELLE
Press Review
📌 « ...It sounds gorgeous and I don't know, it's a nice change of pace to hear the cello playing in this context supported by those great swelling bellows of the accordion. They do complement each other particularly well...
...Once again from their new album the Duo Kiasma. That is such a cool arrangement of the Aria from Bachianas Brasileiras #5 by Brazilian composer Heitor Villa Lobos; the arrangement by the Duo Kiasma, the Belgian cellist Pierre Fontenelle and the Luxembourgish accordionist Frin Wolter. That's from their new record, their debut recording. It's called Polaris and it is this week's “In Concert Record of the Week»
CBC radio Canada, Record of the Week, Paolo Pietropaolo, October 11, 2026
📌 « We can rejoice in certain arrangements on this new album that are devilishly well done, especially when we sense that it’s not just about sharing a bit of music, but about fusing two instruments, two timbres, to create a profound soundscape—a world brought to life by the passionate hands of these two musicians, Frin Wolter and Pierre Fontenelle. Take, for example, this magnificent arrangement of “Danny Boy,” a traditional melody from Northern Ireland."»
Musiq'3, Ca vient de sortir, Pierre Solot, October 10, 2026
📌 « Fontenelle’s performance combines finesse and depth (what concentration!) to create music that is lyrical and expressive (the soul soars toward the cosmos, then, in another form, returns to a new life), serene and engaging: between the soloist and the orchestra, ‘the chemistry is just right’; together, they convey to the audience a strong sense of harmony and the purity of the score’s intent (the gripping finale where the soul returns to earth, accompanied by a cello line that has become a comforting lullaby)—and the audience shows its appreciation so strongly that they are treated to a first encore before intermission.»
Crescendo, Bernard Vincken, October 2, 2026
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La Note Belge - Axelle Thiry - Musiq'3 - RTBF
September 24, 2026, and September 26, 2026
📌 « The high-quality recording features a rich interplay of timbres and imaginative arrangements blended with a fresh touch. Thus, the duo’s concept works perfectly. Bach, Vivaldi, and Rameau blend beautifully in this new guise, and the two musicians’ sensitive, technically superb playing takes care of the rest. »
Pizzicato, 23 September 26
📌 « ...They then tackle music by Bach, Rameau, Villa-Lobos, and Vivaldi. Their versions of the English Suite and Vivaldi’s Cello Sonata are particularly striking...”
Standaard, jc, September 25, 2026
📌 « ...From start to finish, the musical intelligence, the intensity of the interplay, and the subtlety with which the instruments’ timbres blend—whether in lyrical passages (just listen to Bach’s Sarabande or Vivaldi’s moving Largo...) or in the most jubilant and lively moments—are truly awe-inspiring. Cello and accordion: an unexpected pairing, perhaps, but a particularly successful one in this case! ”
Concert Classic, Alain Cochard, September 2026
📌 « ... The Électrum Trio displays a noble and generous lyricism: Vilmos Csikos’s violin, with its almost Gypsy-like flourishes, blends beautifully with the rounded tone of Pierre Fontenelle’s cello and Marco Mantovani’s lively yet always balanced playing...”
Resmusica, Benedict Hévry, September 1st, 2026
📌 « Here, Wolter in particular demonstrates just how refined an accordion can sound when the instrument isn’t treated as a substitute for another keyboard instrument. The bellows allow for subtle dynamic nuances, while Fontenelle weaves through the music with a warm, supple cello tone. Rameau’s lyrical side is given full rein, without losing any of the dancing elegance of his music.» Klassiek Centraal, Jacques Kinnaer, Septembre 4th, 2026
📌 « ...Fontenelle’s joy in playing was remarkable, thanks in part to the pianist’s close accompaniment. Sanlidag developed a keen sense of her stage partner’s nuances. She anticipated the cellist’s intentions and contributed significantly to the success of the performance. We noticed a close interplay between the cello and the piano, which reflected a shared artistic vision. This demonstrates a level of competence that we love to see on stage and that—hopefully—will continue to bear fruit for a long time to come. »
Klassiek Centraal, Petronela Serban, March 24, 2026
📌 "…between classical repertoire, contemporary creations, and freedom of expression, he asserts a personal style."
Le Soir, Gaëlle Moury, 9 juillet 2025
📌 "…he dares a first album that is truly unexpected. A striking debut for Pierre Fontenelle, a cellist unlike any other."
Magazine Larsen, Stéphane Renard, mars - avril 2025
📌"…It is the western plain glimpsed in the distance—the saloon, the Stetsons, the spittoons, and the horses not always saddled…"
Crescendo Magazine, Bernard Vincken, 22 février 2025
📌 "Pierre Fontenelle undoubtedly has the makings of a great artist, thanks to his curiosity for repertoire and his generous interpretative approach. Attached to his cello, he can elicit astonishing sonic effects, with a blend of convincing strength and seductive sensuality. His precise intonation and remarkably controlled bowing fully serve the most sensitive musical expression and the most accurate aesthetic alignment."
Res Musica, Benedict Hévry, février 2025
📌 "One hears a musician intensely attached to his instrument, drawing from it that subtle blend of ardent heart and poetry."
Musiq’3, Pierre Solot, février 2025
📌 "An artist of profound originality," "a powerful yet gentle voice.".
La Libre Belgique, Martine Dumont-Mergeay, 18 janvier 2025
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With his debut album *Roots*, Belgian cellist Pierre Fontenelle demonstrates that the cello is much more than just an instrument for classical concerts (...) In collaboration with contemporary composers, Fontenelle explores the limits of what the cello can express and how it fits into a modern musical context (...) The result is a fascinating balance between seriousness and humor, tradition and innovation. *Roots* is recommended not only for cello enthusiasts, but also for anyone seeking music that dares to venture beyond boundaries and stimulates the imagination. »
Hageland Klassiek, Bart Debbaut, janvier 2025