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Review
The real surprise is the approach taken by Gergiev. Although recorded more than a year before his announcement that he is to shift his infamously gruelling schedule down a gear or two, there are early indications here as to what such a move might to do to both the driven and dramatic sound of his Mariinsky orchestra and his own machine-gun approach to conducting.
In the Tchaikovsky Variations – a sparkling kaleidoscope blending technical fireworks with effusive lyricism and an emotional range that prompted Liszt to approvingly declare: “This is real music!” – Capuçon and Gergiev weave the delicate, antique-edged theme through each of the seven vividly contrasted variations and coda with a consummate concern for tonal variety, colour and balance. Capuçon’s nimble solo line is adroitly playful, plaintive and passionate by turns, Gergiev accompanying with a love-struck lightness of touch to offer a reading that is delicate but not overly deliberate, tastefully refined without ever risking archness.
Fashioned from the flesh and bones of his earlier Cello Concerto, the turbulent heart of Prokofiev’s darker-hued Sinfonia Concertante often incites soloists and orchestras to indulge in some hot-blooded, storm-tossed rhetoric. But Capuçon and Gergiev cleave through histrionic superficiality to produce a reading that bites but never barks.
There’s a determined footfall to Capuçon’s cello throughout this yearning, heart-on-sleeve concerto, and one that the Mariinsky players fall eagerly into step alongside, their lithely muscular support shying away from overstatement to create ample space for the sweetly tender solo voice in the opening Andante. The middle movement boasts some fine interplay between soloist and orchestra, Gergiev keeping things pert, poised and pushing towards a finale that moves persuasively from parodic playfulness to passionate rhetoric.
The recorded sound, caught live in the Mariinsky Concert Hall on Christmas Eve last year, is perfectly delineated with audience noise conspicuously absent. --Michael Quinn
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Customer Reviews
In this recording Capuçon is joined with Valery Gergiev and the Marinsky Theater Orchestra in Prokofiev's infrequently performed Sinfonia Concertante, or more correctly Symphony-Concerto in E minor, Op. 125. The work has exhilarating moments as well as moments of meditation (as in the closing Andante) and is of importance as it is a 1952 re-working of Prokofiev's 1938 Cello Concerto. The performance shows the changes in Prokofiev's ideas well and make this piece well wroth getting to know well.
Tchaikovsky's 'Rococo Variations' complete the recoding with a performance that is a delightful interplay between Capuçon and Gergiev. The piece has rarely felt so 'Rococo' as it does her - a delicate balance that allows the cello to shine. This recording is remarkable in that it marks a significant stage in a young artist's career. The combination between cellist and conductor/orchestra is gentle and eloquent. Grady Harp, February 11
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.
to match those Rococó Variations as the worst played ever! Everything is wrong in this performance which sounds
very slow, dull and bland. The Prokofiev's Cello Symphony is just a bit better but lack in commitment is again
evident. Cellist and conductor are not capable to bring fire into those piece and it's a real pity. An absolutely
dispensable CD.
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