« That Capuçon is among the greatest of cellists was announced by the passionate projection of his amazing sound from the start…Capuçon is an
exceptional chamber musician too, so it was hardly surprising to find him fine-tuned to his orchestral colleagues. »
– The Arts Desk, February 2018 -
« Gautier Capuçon plays the cello with the control and wisdom of a much older musician. The lightness of his touch and the consistent clarity of his bow strokes are quite admirable in themselves, but when combined with an uncanny sweetness of tone in the higher registers they are breathtaking. »
– Gramophone -
« Mellifluous tones pour from Gautier Capuçon's cello. »
– The Times -
« The cellist's lean but penetrating sound and rhythmic acuity were matched by an abundance of lyrical feeling…An altogether winning [Chicago Symphony Orchestra] debut. »
– Chicago Tribune, April 2012 -
« Capuçon brought out the score's every technical and emotional aspect in a performance both commanding and highly subtle of [Dutilleux’s] 1967-70 Tout un monde lointain ... (A whole distant world ...) ...The controlled firebrand Capuçon…received a total and attentive silence in the work’s long pianissimos followed by a loud and long audience ovation. »
– Chicago Sun Times, April 2012 -
« The concert’s centerpiece was Schumann’s Cello Concerto, given a fascinating and powerful account by Bringuier and soloist Gautier Capuçon. The cellist made his Disney Hall debut the night before, but performed like a veteran in the hall’s lively, golden-warm acoustic. The body and clarity generated from his resonant, dark-toned instrument – a 1701 Matteo Goffriller cello – was thrilling… After the score’s vigorous finale, Capuçon returned for a solo encore: a Prokofiev march, which he arranged, performed with the kind of virtuosity and flexibility more often heard on a violin. »
– Los Angeles Times, February 2011 -
« Among the constellation of young cellists, Gautier Capuçon shines brightly... A blend of impeccable taste, Romantic ardour and technical aplomb...a finely proportioned performance that traces and communicates with innate understanding the music's emotional flux. Whether quizzical, rapturous, pensive or demonstrative, Capuçon has full measure of it here in a performance of impressive stature. »
– The Telegraph, January 2010 -
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