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Tchaikovsky: Rococo / Prokofiev: Sinfonia
Gautire Capucon, Valery Gergiev
Tchaikovsky: Rococo / Prokofiev: Sinfonia
Genre: Classical
 
  •  Track Listings (11) - Disc #1

`Gautier Capuçon plays the cello with the control and wisdom of a much older musician. The lightness of his touch and the consistent clarity of his bow strokes are quite admirable in themselves, but when combined wit...  more »

     
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CD Details

All Artists: Gautire Capucon, Valery Gergiev
Title: Tchaikovsky: Rococo / Prokofiev: Sinfonia
Members Wishing: 0
Total Copies: 0
Label: Virgin Classics
Original Release Date: 1/1/2010
Re-Release Date: 2/9/2010
Genre: Classical
Styles: Historical Periods, Classical (c.1770-1830)
Number of Discs: 1
SwapaCD Credits: 1
UPC: 5099969448607

Synopsis

Album Description
`Gautier Capuçon plays the cello with the control and wisdom of a much older musician. The lightness of his touch and the consistent clarity of his bow strokes are quite admirable in themselves, but when combined with an uncanny sweetness of tone in the higher registers they are breathtaking.' Gramophone A Frenchman in St Petersburg ... Gautier Capuçon joins Valery Gergiev (making his Virgin Classics debut) and the Mariinsky Orchestra for works by Tchaikovsky and Prokofiev These live performances were recorded in St Petersburg on 24th December 2008 when Gautier Capuçon was the guest of Russia's leading maestro - and one of the world's most prominent conductors - the protean Valery Gergiev and his Mariinsky Orchestra. This is Gergiev's debut on Virgin Classics; Capuçon, of course, is one of the mainstays of the label and this is his third album of solo works with orchestra. His recording of the Dvoøák and Victor Herbert concertos was released in early 2009. The Sunday Telegraph reported that: "This is not the first coupling of these works, but it is perhaps the most distinguished. The works have much in common and Gautier Capuçon makes the most of the music's melodic appeal. The Dvoøák receives a powerful and intense interpretation with some superb orchestral solos to match the soloist's eloquence," while The Guardian found that, in the Herbert, Capuçon "captures the work's rhapsodic ambitions and the lyrical charm of its slow movement perfectly ... this version just about has it all." Gautier joined his brother, violinist Renaud for a recording of the Brahms Double Concerto, released in 2007. "There's something totally compelling about this performance of the Double Concerto from the first few bars," wrote The Guardian, "when Gautier Capuçon launches into the opening cello solo with a rhapsodic freedom and expressive abandon that seems to sweep all before it, gathering first his brother Renaud's violin playing and then the Gustav Mahler Jugend Orchestra and conductor Myung-Whun Chung into the same unstoppable flood of lyricism." Tchaikovsky's Mozart-inspired Rococo Variations are a mainstay of the cello repertoire, but Prokofiev's Sinfonia Concertante features less frequently in concerts and recordings. The work was premiered in 1952 by Mstislav Rostropovich, with the equally legendary pianist Sviatoslav Richter deserting the keyboard for the conductor's baton. Its material is drawn from the composer's earlier cello concerto, written in the 1930s.
 

CD Reviews

Lovely playing, but the two works are minor and banal, respe
Santa Fe Listener | Santa Fe, NM USA | 02/17/2010
(3 out of 5 stars)

"Pity the poor cellist, who has only a smidgeon of popular repertoire compared to violinists. This shortage has forced star cellists to become extremely ingenious, none more so than Yo-Yo Ma. Behind the romantic cover photo of Gautier Capucon (not to mention a romantic name) we encounter two marginal residents of the cello playbook. The Tchaikovsky Rococo Variations are timid to the point of stultification -- I speak personally here -- and once past the grand statement given by Rostropovich and Karajan (on DG), is there any reason for seconds? Capucon and Gergiev go in the opposite direction with a refined, quiet, inward reading that, frankly, does the score no favors. It's all cut velvet and lace doilies. I forgot where I was ten minutes into the performance. Capucon strikes me as an elegant stylist, though, with a pure, attractive tone.



The Prokofiev Sinfonia Concertante (which also travels as the Symphony-Concerto and uses material from an earlier Cello Concerto) dates from too late in Prokofiev's career, when sickness and accident had considerably enfeebled him. Its dedicatee was a young Rostropovich, and he dug in with such passionate conviction that you could forget the work's wandering aimlessness and lack of inspiration. Capucon's elegance tends to make him not reach for extremes, even where a bit of scratching and biting would be desirable. Gergiev is the master Prokofiev interpreter of the age; Virgin's sound is impeccable; the Mariinsky Orch. has this music in their blood. If only the score had more blood itself. It barely has an idea of where it's going half the time. Forty minutes is a long time to amble about the landscape, but every sound is pleasant, so maybe that will do -- for one listen. This is Prokofiev running through familiar gestures but at a level of banality that exhausted my patience. I defy anyone to name the actual emotions being so vaguely evoked.



In short, pity the poor cellist."