Coppey evokes the accents and the biting, the virtuoso fantasy of Mstislav Rostropovich – but whilst the interpretation is dominated by the whimsical colours of Rostropovich’s recording, Coppey succeeds in shedding a new light on Shostakovich’s universe.
Coppey’s bow knows how to uncover rare accents…
Marc Coppey’s aristocratic ease on the cello is incredible. This is an artist we all love very much – with a grace in his playing, and a kindness that moves. A thick and warm velvet sound that envelops the audience.
A sensual and full-blown sound – Marc Coppey is rightly part of the great tradition of French cellists.
From the very onset, it was clear that there was focused direction – rarely do you see such skilful dialogue between conductor and orchestra. The applause was not just for the Deutsche-Kammerakademie, but also for a conductor who broke new ground with bravado and spirit.
Combining choreographic gesture with rhetoric, earthly robustness with spiritual uplift, Marc Coppey’s playing is overwhelming in its jubilant vitality.
Coppey’s rendition of the Franck, particularly the “Recitativo-Fantasia” movement, was the stuff of dreams: perfect cello playing and a sense of bardic poetry, making all the emotions real and alive.
The Zagreb Soloists bring an exquisitely shaped opening to the Adagio. When the soloist enters he finds a lovely balance with the gentle orchestral line. This is a really poetic conception with a fine rubato and a lovely tone that isn’t without moments of more intense bowing. There is some beautifully controlled playing from both soloist and orchestra… Coppey may only have been directing the Zagreb Soloists for two years but it is obvious that they have already found a very close working relationship. All in all, a very recommendable recording of these works.