For different reasons both Capuçon and Nézet-Séguin
are currently men of the moment. This well-played disc shows
off their extrovert musical intelligence very well, though the
Korngold is notably more successful than the Beethoven.
Korngold seems to be everywhere these days, with a few successful
recordings of his concerto having appeared within the last few
months. This is worthy to set alongside them. Capuçon’s
livewire exuberance is well suited to the heart-on-sleeve character
of the work. He hurls himself with abandon into the surging main
theme of the first movement, revelling in the overt sentimentalism.
He is buoyed up by the accompaniment of the orchestra, the textures
coloured by the composer’s use of the celesta and subtle
percussion. The high jinx of the finale are right up Capuçon’s
street and his development, if it can be called that, of the
main theme lightens the mood and carries the work to a wonderfully
irreverent final cadence. The slow movement is perhaps the highlight
of the disc, a blissfully rhapsodic journey through another world
with the violin accompanied by the ethereal glow of the shimmering
orchestra.
Next to this Capuçon’s Beethoven is more four-square
and predictable, but I still found it enjoyable. Nézet-Séguin’s
chief concern here is an unfailing smoothness which, in some
respects, makes Beethoven’s music seem more comfortable
than it really is. This works well for the serenity of, say,
the Larghetto or the first movement coda, but less so for the
endlessly insistent 5-note rhythm that dominates the first movement
which feels somewhat emasculated. Furthermore, the balance favours
the soloist rather too much so that the orchestral climaxes can
sound underwhelming. I can live with this in the slow movement,
however, as it makes the soloist’s counter-melody shine
with uncanny radiance, even if it is a little artificial. The
pace of the finale works well too and I left feeling that while
this reading may not knock any others off their perch it will
do nicely as one to come back to from time to time.
All told, the finest thing about this disc is the Rotterdam Orchestra,
who distinguish themselves again and again, not just in the Korngold
but also in moments such as the beginning of the first movement
development in the Beethoven: the orchestral violins’ accompaniment
to the main theme sounds almost like an engine revving, which
I found surprisingly exhilarating. A disc worth exploring, especially
if you want the Korngold.
Simon Thompson
see also review by Jonathan Woolf
Renaud Capuçon (violin) 
