Gautier Capuçon
Cello

“It’s the rare performer who can bring such ease and refinement to this music, while still giving everything he plays a sense of dramatic urgency.” (San Francisco Chronicle)

Contacts

Lydia Connolly +44 (0)20 3725 9118
Teodora Masi +44 (0)20 3725 9189
Charlie-Rose Terry +49 (0)89 6797 10446

Biography

Gautier Capuçon is a true 21st century ambassador for the cello. Performing each season with many of the world’s foremost conductors and instrumentalists, he is also founder and leader of the ‘Classe d’Excellence de Violoncelle’ at the Fondation Louis Vuitton in Paris – based in the stunning new Auditorium designed by Frank Gehry. He is acclaimed internationally for his deeply expressive musicianship and exuberant virtuosity, as well as for the glorious sonority of his 1701 Matteo Goffriller cello. 

During 2017/18 Capuçon will appear as soloist in a number of orchestral tours across Europe, the US and in Asia. In Europe he will tour with Orchestre de Chambre de Paris, Wiener Symphoniker (Philippe Jordan), and the Gustav Mahler Jugendorchester. In the US he will tour with the Royal Philharmonic Orchestra (Charles Dutoit) and the National Center for Performing Arts; and in Asia with hr-Sinfonieorchester (Andres Orozco-Estrada) and as part of the Verbier Festival with Gabor Takacz. Other concerto highlights include return performances with Gewandhausorchester Leipzig, Wiener Philharmoniker (Semyon Bychkov), Orchestre de Paris (Yu Long), San Francisco Symphony Orchestra (Stephen Deneve), City of Birmingham Symphony Orchestra (Mirga Graþinytë-Tyla)and London Philharmonia (Paavo Jäarvi). 

Gautier Capuçon is a true 21st century ambassador for the cello. Performing each season with many of the world’s foremost conductors and instrumentalists, he is also founder and leader of the ‘Classe d’Excellence de Violoncelle’ at the Fondation Louis Vuitton in Paris – based in the stunning new Auditorium designed by Frank Gehry. He is acclaimed internationally for his deeply expressive musicianship and exuberant virtuosity, as well as for the glorious sonority of his 1701 Matteo Goffriller cello. 

During 2017/18 Capuçon will appear as soloist in a number of orchestral tours across Europe, the US and in Asia. In Europe he will tour with Orchestre de Chambre de Paris, Wiener Symphoniker (Philippe Jordan), and the Gustav Mahler Jugendorchester. In the US he will tour with the Royal Philharmonic Orchestra (Charles Dutoit) and the National Center for Performing Arts; and in Asia with hr-Sinfonieorchester (Andres Orozco-Estrada) and as part of the Verbier Festival with Gabor Takacz. Other concerto highlights include return performances with Gewandhausorchester Leipzig, Wiener Philharmoniker (Semyon Bychkov), Orchestre de Paris (Yu Long), San Francisco Symphony Orchestra (Stephen Deneve), City of Birmingham Symphony Orchestra (Mirga Graþinytë-Tyla)and London Philharmonia (Paavo Jäarvi). 

In recent seasons Capuçon has appeared with, among others the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic Tonhalle-Orchester Zürich, New York Philharmonic, NHK Symphony and Sydney Symphony Orchestra, as well as with all of the major orchestras across France.

A regular recital and chamber musician, Capuçon appears annually in the major halls and festivals worldwide. Highlights this season include a return to Carnegie Hall (with Daniil Trifonov), an extensive international recital tour with duo partner Jérôme Ducros, supporting the international release of the album ‘Intuition’ featuring the same repertoire, and performances at Verbier Festival with: Lisa Batiashvili, Christoph Eschenbach, Janine Jansen, Leonidas Kavakos, Yuja Wang and Tabea Zimmermann. Other artists with whom Capuçon regularly performs include Nicholas Angelich, Martha Argerich, Daniel Barenboim, Frank Braley, Renaud Capuçon, Katia and Marielle Labèque, Menahem Pressler, Jean-Yves Thibaudet, and the Artemis and Ébène quartets. 

A multi-ECHO Klassik award winner, Capuçon records exclusively for Erato (Warner Classics) and his most recent releases include Beethoven Sonatas with Frank Braley, Shostakovich’s Cello Concertos with the Mariinsky Orchestra and Valery Gergiev; and Schubert’s String Quintet with Quatuor Ébène.

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Contacts

Lydia Connolly +44 (0)20 3725 9118
Teodora Masi +44 (0)20 3725 9189
Charlie-Rose Terry +49 (0)89 6797 10446

Reviews

“Gautier Capuçon performed Dvořáks Cello Concerto with the noblest tone and brilliant phrasing…” (Kölner Stadt-Anzeiger, June 2017)

“…the First Cello Concerto (Shostakovich) might be anti-heroic, it nevertheless calls for heroism from a soloist. Gautier Capucon delivered it in spades, in a performance of fierce concentration and taut virtuosity. His broad tonal palette was on display right from the start and ran the whole gamut” (Bachtrack, May 2017)

“In a concert of extraordinary sophistication, dynamic daring and supple phrasing, it was the purity of Gautier Capuçon’s cello that stilled the hall …  Capuçon played with grave sweetness, intensifying his tone in almost imperceptible increments. The Barbican audience has seldom been so quiet.” (The Times, March 2017)

“Gautier Capuçon performed Dvořáks Cello Concerto with the noblest tone and brilliant phrasing…” (Kölner Stadt-Anzeiger, June 2017)

“…the First Cello Concerto (Shostakovich) might be anti-heroic, it nevertheless calls for heroism from a soloist. Gautier Capucon delivered it in spades, in a performance of fierce concentration and taut virtuosity. His broad tonal palette was on display right from the start and ran the whole gamut” (Bachtrack, May 2017)

“In a concert of extraordinary sophistication, dynamic daring and supple phrasing, it was the purity of Gautier Capuçon’s cello that stilled the hall …  Capuçon played with grave sweetness, intensifying his tone in almost imperceptible increments. The Barbican audience has seldom been so quiet.” (The Times, March 2017)

“It’s the rare performer who can bring such ease and refinement to this music, while still giving everything he plays a sense of dramatic urgency.” (San Francisco Chronicle)

“This is an account full of mesmerizing cello playing and breath-catching incident, delivered without any sense of panic, even in the most taxing passages. Capuçon and Braley are equally compelling in the five Schumann pieces, revealing the fleeting, sorrowful irony of the Langsam movement persuasively enough, while bringing an uncommon piquancy and effusiveness to faster sections… Unsurprisingly, their reading of the Debussy Sonata is superlative… Capuçon and Braley make an ideally balanced and unified partnership, giving one of the finest accounts I’ve yet heard of this elusive and sometimes problematic sonata.” (International Record Review)

“Capuçon was calmly charismatic throughout, conveying direction and life in small details like his tightly coiled pizzicato but also flourishing in the many quiet, floating passages, which he rendered with uncommon clarity in stratospheric registers.” (Boston Globe)

“Capuçon was, in every way, ravishing in Haydn’s upbeat, youthful Cello Concerto in C major… The Haydn has excellent tunes, but it doesn’t seem to be the greatest challenge for a cellist until someone like Capuçon plays it as though a chef with the remarkable flair to bring out hidden flavours in ingredients that might otherwise seem ordinary.” (Los Angeles Times)

“Mr. Capuçon played the work beautifully, negotiating its difficulties with seeming ease.” (New York Times)

“A model undertaking – thoughtful, highly dramatic and played with precision and grace. Schumann's Five Pieces in Folk Style gets a robust and personable reading, with just the right balance of humor and expressive sincerity, and the Debussy sonata sounds pointed yet sweet in Capuçon's account. Perhaps the most striking performance comes at the end, with a rendition of the Britten Sonata that brings out the full emotional and technical range of the work.” (SF Gate, March 2014)

“This performance by Capuçon – together with violinists Lisa Batiashvili and Valeriy Sokolov plus viola player Gérard Caussé – showed total mastery of its tight structure and dynamic range.” (The Guardian)

“Splendid in the ascending false harmonics, Gautier Capuçon possesses fantastic bowing virtuosity, from the ascending spiccato double-stops to the floating descending arpeggio figures. Equally he has the taste to deliver the captivating melodies with nuance, and yet maintains a tactful restraint to prevent the music sliding into the obvious.” (The Strad)

“Between the two symphonies, the Chamber Orchestra of Europe and the young maestro Yannick Nézet-Séguin gave the jewel in the crown to Gautier Capuçon with Schumann’s cello concerto in A minor Op.129. His performance was light and agile: the accompaniment at the beginning of the initial ‘Nicht zu schnell’ section set the tone for an interpretation that was very much in the vein of a chamber music performance. It was delightful to watch the cellist turning towards the orchestra in complete complicity, to pluck the beginning of his solos out of their sound. The end result was enchantingly lyrical, but never languid or sombre; a thousand miles from the all-too- often morbidly crepuscular performances of this piece. This was pure poetry.” (Concert Classic)