For the unconventional cellist HAUSER, every time he steps onto the stage feels like the first time.
Born in Pula, Croatia, into a musical family, Stjepan Hauser knew from a young age what he wanted to do in life: skyrocket the popularity of the cello. His journey led him to the renowned musical duo 2CELLOS, which he formed with fellow countryman Luka Šulić, focusing on presenting a new musical proposition outside the realms of classical, pop, or rock traditions.
On his solo path, he uses the name HAUSER and is now considered a “cello superstar.” With his explosive talent, he enjoys constantly redefining his artistic boundaries. He recalls how, from a young age, when his peers teased him for his dedication to music, he set the bar as high as possible and was a “rebel,” focusing solely on the audience’s emotions, far from theories and norms. And to this day, he continues to chase his dream with the same passion and determination.
Interview with Yiorgos Savvinides.
What can the audience expect from you in a concert?
Oh, they can expect a crazy show with a whole journey. A whole journey from the history of music, because I start with some classical music, some old composers from the past, then I start playing some romantic ballads, then I play some movie soundtracks, and then gradually the show just becomes more and more crazy, and then ends with a whole band, these songs that everyone can jump and dance and have a big party. So it’s a rollercoaster of different emotions.
Isn’t this what you really enjoy doing?
I think it’s very important to love what you do, and if you really enjoy it, then everyone enjoys it as well. Because you transmit that positive energy, joy, and love, and it’s always nice to see someone enjoying something. If someone is happy and fulfilled with what they’re doing, it puts a smile on your face too.
What do you enjoy most about touring?
Well, that part when I’m on stage, it’s the best part, because that’s what I was born to do: to share music and to be on stage, and to be a showman, entertainer, and spread emotions. And then, the other part is not so interesting, you know, travelling, going from city to city, country to country, so many logistics behind it, all just for this one or two hours on stage. But it’s worth it in the end.
Was classical music popular for a kid your age, when you started playing, and especially an instrument like the cello? What motivated you to finally commit to it?
Yeah, classical music was not popular at all, especially where I am, in this area, it was not popular. And cello especially, no one even knew what cello was. It was not easy for me, because they were making fun of me, because while I grew up, everyone was a football player, everyone was a big macho man, and I was just some “stupid” guy who played some violin or guitar, or however, they called it. No one even knew what cello was. This created a big rebellion in me as a small child. I wanted to prove to them that one day I would be more cool than all of them. With cello! And you see, many years later, this is what happened.
I bet it happened. But do you feel like you missed some of your childhood, and adolescence, because of this?
Yes, but when I was small, I knew that I was sacrificing, and I know now, work hard and sacrifice, and then later you will enjoy it. It was an investment. I was telling myself: don’t chase girls now, later girls will chase you. HAHAHA.
Did you ever imagine then that one day you would be a world-known musician?
Yes, I knew it. I was so focused on this. Yes, I was crazy. I was like I want to be the best, the biggest, number one. I wanted to be better than Rostropovich, better than all those great cellists. I had this goal from early childhood, I wanted to make the cello so popular, to bring masses, millions of people, and fill up arenas, and stadiums. No one would believe me, but I was so sure about it. I was visualising myself in those scenarios and kept going, and never doubted for a second. And this is the key: to be so sure and not listen to anyone, just ignore them. Just focus and ignore the noise from other people.
After all these years, before your performances, do you still get excited or nervous?
Not nervous, but excited. It’s always a big excitement when you see so many people waiting for you. It’s an adrenaline rush. Every time I go on stage, it’s like the first time. Εvery time! It’s always fresh. And every concert is different, because it’s always a different atmosphere, different people, you feel some different energy in the air, and it’s always a new experience.
Do you think the versatility of the cello as an instrument is underrecognised? Why do people consider it a strictly classical instrument?
Because it was presented this way for many years. It was established as this, you know. It was like part of a quartet, part of a symphonic orchestra, etc. It wasn’t even considered something special. And I was really annoyed with it because I always knew the cello was capable of so much more. And I wanted to prove that the cello can play anything you want, actually. And I never could understand why so many cellists keep playing the same songs, same pieces, same repertoire, for hundreds of years, again and again and again. You can do so much more with cello. And that’s what I did. And I proved that cello can be so cool and used in so many different ways. And now, now everyone is doing it.
While you explore music, especially the cello, do you feel that it has preconceived boundaries and limitations?
Yes, this was always a big fight for me, because throughout your life you hear those limiting thoughts from teachers, by other students. You go to masterclasses and competitions, and you just see so many unnecessary rules. How to play, how to behave, how to perform. And I was just ignoring all this. I had problems many times. Because I felt music in my heart, and they were all just talking about boring theories. And just theory, theory, theory. But the most important thing is to give a performance, to move the audience, to give them some special sensations. This is why my focus was always like this from an early age. I would ignore my teachers, I would ignore schools and conductors. I was a real rebel, from an early age.
Your goal was to move audiences. But how can one achieve the possibility to amuse, inspire, to influence so many people?
It’s very important to have a good background, a good school, a good education, learn techniques, everything. This is very important. But then you need to find your own voice, your own way of how to do things. Now there is another problem. Now many people want to imitate what I do, but they skip the important steps. They skip the foundation, they skip the hard work, they skip the scales, lessons, and all this journey that I’ve been through. I didn’t start doing what I did from the first day. It was hard work for many, many years until you could start doing that kind of thing. And this is the problem of social media now. Because people want to straight away do something before they even learn the basics.
Let’s talk about the loneliness of a soloist on stage. What is good and what is bad about it?
Your loneliness is a part of life you need to accept. If you want to be an artist who travels and shares music, you have to accept the price that comes with it. And this is one of the prices that you need to pay. You very often be away from home, with yourself. But for me, it was not a big problem, because even as a little boy I was always in my own world, in my own thoughts. So I was kind of isolated from the world from an early age. Which can be sometimes hard, but at the same time it makes you grow and develop. This is where creativity comes from when you are alone. Otherwise, if you are distracted all the time by other people, then you cannot make much of it.
What is the meaning behind the title of your performance “Alone Together”?
This was during the time of the pandemic. There were no concerts, the audience couldn’t come, so I was playing in empty arenas. But they were watching online, so it was like I’m alone, but we are all together, streaming.
How do you remember your time with 2CELLOS? Have you completely ruled out of your mind the possibility of another reunion?
Well, there is always a possibility. Look, at Abba now. Maybe we can make it to… a hundred years old. But now, Luca is a family man, he is waiting for his fourth child. And me, I’m crazy, I just want to go and conquer the world and build my career. So we are totally different personalities now. And at the moment I’m going into more of this romantic, Latino, sensual, classical. And he wants to compose some of his own music. But then maybe one day he will come back, you never know.
Is the Balkan spirit a real thing? Do you somehow find it in your personality, your temperament and your work?
Yes, for sure. It’s a very special spirit because, in this part of the world, we know what is life. We know how to live, how to enjoy life. Because in the West, they are only focused on work. Work, money, work, no time for coffee, no time for fun. Of course, it’s important to work, but the point of work is to earn and then you can enjoy it. This is also a very important part of life, to enjoy life as well. That’s the big difference. This is so important when you go to these countries to see the lifestyle. And then you feel this atmosphere and spirit and it’s so great. People drink coffee outside and enjoy life, those moments are the most beautiful moments of life. People are warmer, have open hearts, big emotions and it’s always nice to see that in the audience.
What is your greatest ambition in life now?
Well, I always keep following my dream and I never give up. Consistency is the most important thing in the world. When you can always keep going, you are consistent.
Do you feel that you achieved your goals?
Yes, but there is always more, because you always want to go next level, next level, next level. But for me this is a pleasure, this is my lifestyle. And I enjoy doing that. I never feel it’s a hard work.
What are your sources of inspiration?
Well, many. Women. Women, nature, sunset, you know.
You said ‘women’ twice, so I will keep it like this…
Alright.
What was the worst experience you have ever had during a performance?
The thing is that even if something bad happens, I turn it into a show. If something stops working, the cello stops working, or the string breaks, or the bow breaks, I just take the microphone and start making jokes until they bring, fix it or bring new. So, for me, I never see the problem as a problem. I always turn it into a funny thing, and this is how a real artist should do and behave. Then, the concert becomes even more memorable because you turn it into something funny.
And what is your worst nightmare?
I don’t know. I’m always positive. That’s the recipe, being positive. You can always choose the positive angle. For everything, you know.
HAUSER’s performance is set to take place on Friday, September 22, at the Municipal Garden Theatre “Marios Tokas” in Limassol, starting at 8:30 PM. Tickets are available through Tickethour.
Sponsors: Phileleftheros and In-Cyprus
