One might be tempted to think and assume that this all Russian forces recording would bring to the fore more elan, more insights more 'conflict' - more sarcasm at certain passages, more outburst of wild-joy present in Shostakovitch's score - but no; This is a very cautious reading with a cellist that prefers to 'play it safe' avoiding and bypassing bold statements, ahead-leading virtuosity, and a conductor that follow like a cautious brooding-chicken conducting an orchestra that is buried somewhere in the far sound-stage horizon.
Very troublesome especially is the first cello concerto:
The cello's tempi at times, and when approaching crescendos, are held back a bit as if just to make sure that the conductor is following.
The cello is recorded almost at your face and the orchestra is sorts of divided into two depth layers: One layer is vaguely at a plane spread behind the cellist, the other layer of the orchestra is much farther out there in the mist. In the passage which has the dialogue between the cello and the clarinet, the clarinet is given a bold spot microphone which makes its sound as wide as the whole front wall facing the listener and the cello is as wide too.
At a later passage with the french horns, the horns gets a spot microphone that ruins the mystique of the dialogue.
The outburst of the orchestral passages is very subdued; it happens almost at an far horizon level and amounts to practically nothing; no impact, no feel for something which hints at fatefulness.
This was a Russian recording made for the Russian FM music channel and was worked out as a CD by a budget label "arte-nove", and it appears on various version of the same label.
Failed effort, save your money, and get these cello concertos on any other label on Amazon offering