Lively performances made the sultry evenings shine
The final week of the Queen Elisabeth Competition for cellists in 2026 was scorching—for both the audience and the performers. While a heat wave battered Brussels during the finals, paper fans fluttered in the audience, soloists wiped their foreheads and instruments, and sweat poured from the orchestra conductor's nose like rain.
No matter how high the temperature climbed, it was striking to see how the finalists entered the stage with remarkable composure and performed with such passion without faltering. Professional conduct is expected from competitors at such a high level, but these soloists went a step further. At the highlights, the competition showcased interpretive originality, outstanding technical skill, and a symbiotic collaboration with the hardworking Belgian National Orchestra.
Audience Atmosphere
The overall atmosphere of the audience shifted with each night of the competition. On opening night, there was palpable excitement as the first two performers took on the challenge of making a strong first impression. We heard the mandatory piece, Fang Man's Four Odes to the Tidings of Flowers, for the first time in two different interpretations, along with concertos by two completely different composers: Maria Zaitseva guided the audience through a piece with a similar character to the mandatory work, Henri Dutilleux's Tout un monde lointain. With innovative phrasing, Lionel Martin offered the only Romantic-era composition of the week, the crowd favorite Antonín Dvořák's Concerto No. 2. The audience speculated about how the next candidates might distinguish themselves, gathering in Bozar's cave-like foyers with just two performances to compare.
Talking during a performance shows flagrant disrespect—not only to fellow audience members, but to every artist working hard to entertain the public. No one goes to a concert to listen to someone else's chatter. It's neither mature nor appropriate to behave as though the concert hall is your living room or a suitable place for TikTok-like reactions. If you want to chat during the concert, you're better off watching from somewhere else, where you won't disturb others who want to enjoy the live music.
Despite the daily reminders to turn off mobile phones before each performance, a phone ringtone was clearly audible on Friday evening during Leland Ko's otherwise enchanting performance, between the movements of the mandatory piece. Although the soloist didn't seem bothered by the interruption, it was a sad reminder that some audience members simply cannot let go of their phones. Why is it so difficult to honor a simple, clearly stated request?
The brilliance of the playing, however, overshadowed these distractions. While it's true that a dry or less varied interpretation can cause the mind to wander during lengthy concert pieces, there was such a great difference in style among the finalists—both in their physical movement and musical expression—that any form of distraction was entirely unnecessary.
Less variation in chosen concertos enables better comparison on one hand, originality on the other
Each performance sparked fresh curiosity. Although both performed Dmitri Shostakovich's First Cello Concerto on Thursday, Dilshod Narzjillaev's restrained, introspective rendition contrasted sharply with Álvaro Lozano Cames' bright, energetic style. As many as four finalists chose to play the same Shostakovich concerto, while three others performed Sergei Prokofiev's Symphonie Concertante Op. 125. Two finalists played Henri Dutilleux. This allowed for direct comparisons between candidates, but it also made the other pieces stand out: concertos by Dvořák, Samuel Barber, and Witold Lutosławski were each performed only once and held the audience's attention with their originality.
Despite daily reminders to turn off mobile phones before every performance, a ringtone was clearly audible on Friday evening during Leland Ko's otherwise enchanting rendition, ringing out between sections of the required piece. While the soloist appeared unfazed by the interruption, it was a sad reminder that some audience members simply cannot let go of their mobile phones. Why is it so difficult to respect a clearly stated request?
The brilliance of the performance, however, overshadowed these distractions. While it's true that a dry or less varied interpretation can cause minds to wander during lengthy concert segments, there was such a striking difference in style between the finalists—both in their physical movement and musical expression—that any form of distraction seemed entirely superfluous.
Less variety in chosen concertos allows for better comparison on one hand, originality on the other
Each performance sparked fresh curiosity. Though both performed Dmitri Shostakovich's First Concerto on Thursday, Dilshod Narzillaev's restrained, introspective interpretation contrasted sharply with Álvaro Lozano Cames' bright, energetic style. As many as four finalists chose to play the same Shostakovich concerto, while three others performed Sergei Prokofiev's Symphony-Concerto Op. 125. Two finalists played Henri Dutilleux. This made direct comparisons between candidates possible, but it also made the other pieces stand out: concertos by Dvořák, Samuel Barber, and Witold Lutosławski were each performed only once and held the audience's attention with their originality.
During intermissions, crowds poured into the halls for a drink and watched television presenters conducting interviews in their open studios amid the hustle and bustle to discuss their opinions. While a jury must be demanding and follow the rules to rise above trivial considerations, every detail captures the spectator's interest. Andrew Ilhoon Byun's powerful bows were noted, as was the motion of his luxurious hair. Fashion also came up: Lozano seemed unaffected by the heat despite his plush velvet jacket and patent leather shoes, while Clara Dietlin's scarlet ensemble and Tae-Yeon Kim's pink outfit shone brightly on a stage where most performers wore somber colors.
One praised Ettore Pagano's passionate style, while another found Kim's approach clearly superior. There was disagreement about whether Ko's exuberant physical movements were pure showmanship or entirely natural musical expression. By the time Kim played the impressive final notes of Lutosławski's concerto, the tension in the concert hall was at fever pitch.
At this point, our direct observations in the Henry Le Boeuf hall itself ended, as catching the train took priority over waiting for the jury's verdict. The name "Ettore Pagano" sounded at home like a familiar greeting, and subsequently, on television, the names of the other award winners were announced and the discussion about the candidates' merits continued. These young artists have given us a very encouraging vision of the future of cello playing.
Is there any future left?
It's important to mention that the future is far from guaranteed. Each evening of the finals, students from the Royal Conservatoire of Brussels performed a series of events outside Bozar in what they called a Requiem for Culture. With this, they wanted to draw attention to the substantial increase in tuition fees for students from outside the European Economic Area, rising from 9,000 to 17,500 euros with immediate effect—even for students whose academic year ends this coming June—making it far more difficult for international students to attend the school.
The impressive talents these students displayed served as a powerful reminder of the importance of supporting music education, even as its fruits were being celebrated in the concert hall. The stunning displays of technique and interpretation in a high-level competition are only possible when young people have the chance to learn and develop. Training future generations of musicians can ensure that audiences enjoy future editions of the Queen Elisabeth Competition just as much as they enjoyed this year's impressive lineup.
