Ferrari 458 Spider 2013: Road Test

Ferrari 458 Spider

The Ferrari 458 has captivated me from the time it was announced as the replacement for the F430 in 2009. Its sculpture contains all the best bits of the jaw-dropping FXX and the sublime Enzo, but in a way that still makes it an individual.

It also goes beyond the supercar ethos of grabbing attention at all cost. Visually it’s more pure than most of its ilk and, in the metal, feels more in touch with its heritage than many that have gone before it.

But beneath those sumptuous curves and sinuous lines the 458 is very much a purebred mid-engined sportscar. And even in this ‘Spider’ format, the 458 yields little to the concessions one might expect of a convertible. Behind the wheel it’s still sharp, powerful and beautifully balanced.

Sourcing motivation from Ferrari’s ‘570 CV’ 4.5-litre V8 the 458 Spider is effortlessly energetic. The high-revving unit has all the hallmarks of a race engine with maximum power of 419kW delivered at a lofty 9000rpm and 540Nm arriving at 6000rpm.

But even at lower engine speeds the mid-rear-mounted direct-injected mill is impressively flexible, offering 80 per cent of its torque from 3250rpm – and a fair portion of its intoxicating exhaust note too.

Let off the leash, Ferrari says the 458 Spider will hit triple figures in 3.4 seconds and the double-ton in 10.8 seconds. V max is rated at 320km/h. The seven-speed dual-clutch transmission is adjustable via the steering wheel-mounted ‘manettino’ through five settings, and is remarkably placid at suburban speeds.

Unlike some supercars, the 458 Spider is a cinch to drive, at least at the speeds we experienced on public roads, and seems perfectly adept at managing all of the nasty surprises that are the bane of traditional supercars. Changes in road surfaces, driveways and speed humps, and stop/start traffic do little to spoil the Ferrari’s manners.

Like many with steering as sharp as this, the 458 Spider does have a slight tendency to follow changes in camber. But otherwise it’s tack sharp and responds almost intuitively to input. The steering wheel is beautifully weighted with just the right measure of assistance and feedback, making the car impeccably easy to place.

The ride quality is not what you’d call overly firm and, despite a very slight shudder over rough surfaces, there was little scuttle shake to speak of.
The braking, via 398mm (F) / 360mm (R) rotors, is strong and effortless, though like most carbon ceramic arrangements is muted until operating temperature is reached. We’d love to experience the brakes in anger, but a track test was strictly not part of the deal... and what Ferrari says goes.
Helping keep overall weight down to 1508kg is the retractable aluminium hardtop, which actually weighs 25kg fewer than a traditional folding soft-top, but is easier to live with, and arguably more stylish.

In fact, it’s almost unrecognisable as a convertible with the roof in place, and only 16 seconds later transforms at the push of a button into a sleek drop-top ride.
The rear window between the cockpit and the engine bay is electrically adjustable which, as Ferrari puts it, allows the driver to enjoy the “drama” of the exhaust note. With the roof retracted, it also serves as a wind blocker, automatically adjusting to a height that guarantees the most efficient aerodynamics.

I’m also impressed to see the build quality of Ferraris has come a long way since the last time I piloted one [an F430 as it happens]. Attention to detail is impeccable and in spite of its “differences”, the controls are easy to understand and operate once you’ve got used to their unique positioning.

The 458 Spider is a beautifully mannered and remarkably agile machine with the speed to endorse its image. But best of all, it’s one of the most ‘liveable’ supercars Maranello has built, and were it not for the pricetag a Ferrari you could comfortably live with every day.

Established in 1971, McClelland Sculpture Park + Gallery comprises a unique collection of more than 100 permanent outdoor sculptures set in 16 hectares of bush and landscaped gardens. Works include those by prominent Australian sculptors such as Inge King, Lenton Parr, Clement Meadmore, and Norma Redpath, along with, recent acquisitions including Rick Amor, Lisa Roet and Ken Unsworth.

The gallery showcases a comprehensive collection of Australian sculpture dating from the mid 1800s through to present day. It now holds over 200 sculptures in its indoor collection and with a considerable archive of works encompassing historical, modern and contemporary sculpture, paintings, photography, works-on-paper and decorative arts of over 2200 pieces.

Unique aspects of the collection include the Orde Poynton Bequest of 155 works including East Asian decorative arts; over 100 19th Century English watercolours from the Maurice Callow collection; the largest collection of Herbert Rose paintings and prints held in a public collection, and paintings and works on paper from the collections of John Farmer, Sir Daryl and Lady Lindsay, Dame Elisabeth Murdoch AO DBE, Dr Joseph Brown AO OBE,
Kenneth Hood and Antoinette Niven amongst many other generous donors.

McClelland, a not-for-profit organisation committed to the presentation and promotion of sculpture in Australia, is also the home of the biennial McClelland Sculpture Survey & Award for contemporary outdoor sculpture. The next Survey will take place in November, 2014.

It’s open Tuesday through Sunday from 10am to 5pm. More info at: http://www.mcclellandgallery.com/

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