Various ArtistsVariations on a Rococo Theme in A Major - Sinfonia Concertante for Cello and Orchestra in E Minor (feat. cond. Valery Gergiev, cello Gautier Capucon, orch. Orchestra of the Mariinsky Theatre)Review

The measured Gallic finesse of Gautier Capuçon and unfettered Ossetian passion of Valery Gergiev might well seem an unlikely pairing, but this coupling of two repertoire standards offers attractive, well-proportioned readings noteworthy for instrumental subtlety and orchestral sensitivity.

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.