Gautier Capuçon is widely recognised as one of the foremost cellists of his generation and has received consistently high critical praise for his recordings and performances. Born in Chambéry in 1981, Capuçon began playing the cello at the age of five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. The winner of various first prizes in many leading international competitions, including the International André Navarra Prize, Capuçon was named ‘New Talent of the Year’ by Victoires de la Musique (the French equivalent of a Grammy) in 2001; in 2004 he received a Borletti-Buitoni Trust Award since which time he has received several Echo Klassik awards, most recently for his recording with Valery Gergiev.
Capuçon performs regularly as a soloist with the major orchestras worldwide, including the Rotterdam Philharmonic, Munich Philharmonic, Bavarian Radio, Frankfurt Radio, DSO Berlin, WDR Cologne, Santa Cecilia, Chamber Orchestra of Europe, Mariinsky Theatre Orchestra, Orchestre de Paris, Orchestre National de France, and in the USA the Los Angeles Philharmonic, San Francisco Symphony, National Symphony, Houston Symphony and Philadelphia orchestras amongst others. He is a favourite of conductors at the highest level including Bychkov, Chung, Dudamel, Dutoit, Eschenbach, Gergiev, Haitink and Nézet-Séguin.
Gautier Capuçon’s 2010/11 season featured many high-profile performances including his debut with the Philharmonia Orchestra at London’s Royal Festival Hall and at the BBC Proms, playing the Beethoven Triple and Brahms Double concertos with his brother Renaud. Other highlights included performances with the City of Birmingham Symphony Orchestra on tour to Germany, Paris and Madrid with Nelsons, with the Orchestre de Paris under Paavo Järvi in Paris and at the Vienna Musikverein, and with the Swedish Radio Symphony and Seoul Philharmonic orchestras. In the 2011/12 season, Capuçon looks forward to debuts with the Chicago and Boston symphonies, both with Dutoit, and with the Montreal Symphony under Plasson, and in Europe with the Berlin Philharmonic under Dudamel and with the London Symphony Orchestra and Gergiev at the Vienna Konzerthaus.
A regular recital and chamber music musician, Capuçon appears regularly in the major festivals across Europe and every year at Verbier and at Project Martha Argerich, Lugano. He performs with leading artists such as Martha Argerich, Daniel Barenboim, Yuri Bashmet, Hélène Grimaud, Leonidas Kavakos, Stephen Kovacevich, Gabriela Montero, Viktoria Mullova, Menahem Pressler, Vadim Repin, Pascal Rogé, Jean-Yves Thibaudet, Maxim Vengerov, Yuja Wang, the Ysaÿe Quartet and his brother Renaud, with whom he performs at London’s Wigmore Hall in 2011.
Capuçon is an exclusive artist for Virgin Classics. His recordings include the Dvořák Concerto with Frankfurt Radio Symphony/Paavo Järvi, Tchaikovsky Rococo Variations and Prokofiev Sinfonia Concertante with Mariinsky Theatre/Gergiev, the Brahms Double Concerto with his brother Renaud and Mahler Youth Orchestra/Chung, and the Haydn Cello Concertos with Mahler Chamber Orchestra/Harding. He has recorded several discs of chamber music including the Piano Trios of Mendelssohn and Haydn with Martha Argerich and Renaud, and the Piano Trios of Brahms, Schubert and Ravel with Renaud, Frank Braley, Nicholas Angelich and others. He has also recorded Schubert’s ‘Trout’ Quintet, duo works with his brother Renaud, and with Gabriela Montero the Rachmaninov and Prokofiev Cello Sonatas.
As a partner of Gautier Capuçon, Colas co-produced, along with Virgin Classics, his latest recording with Gergiev and participated in the purchase of a Dominique Peccatte Bow. Since 2007 Gautier Capuçon has been an Ambassador for Zegna & Music project, which was founded in 1997 as a philanthropic activity to promote music and its values.
Gautier Capuçon plays a 1701 Matteo Goffriller.
Gautier Capuçon is represented by Intermusica.
2011/12 season / 587 words. Not to be altered without permission. Please destroy all previous biographical material.
Boston Symphony Orchestra, Charles Dutoit / Strauss, Dutilleux and Debussy
"A master of orchestral color and expression, Dutilleux—who turned 96 on January 22—is hardly a celebrity with most concertgoers. No matter—his Tout un monde lointain… for cello and orchestra, rendered Thursday by the Boston Symphony Orchestra under Charles Dutoit with the superb cellist Gautier Capuçon, earned the biggest ovation of the night...
The solo cello moves through this sound world with a subtlety worthy of the poet who inspired this music. Making a memorable debut with this orchestra, the French cellist Gautier Capuçon held the audience in thrall with a simple eloquence that made one forget the music’s considerable technical demands—although the sound of his perfectly-tuned double stops was a reminder of the approximate intonation we’ve learned to put up with from some other soloists.
Dutilleux is said to have admired Rostropovich’s playing in the cello’s upper register, and written this piece’s cello part accordingly. Capuçon also shone there Thursday night, with agility and a wonderful variety of tone and inflection—but one wouldn’t have minded hearing a few more of his room-filling low notes as well. The cellist’s tone never became harsh or grunty even in the most vigorous passages."
Boston Classical Review, February 2012
With Gabriela Montero (piano) – USA Tour / Prokofiev; Mendelssohn; Rachmaninov
Benaroya Hall, Seattle
“In the Hollywood version of Tuesday night's concert at Benaroya Hall, Venezuelan pianist Gabriela Montero would be portrayed by Kate Winslet and French cellist Gautier Capuçon by Johnny Depp. On the other hand, these two musicians have enough charisma to portray themselves."
“… Capuçon is a fixture on the European chamber-music circuit, partnering with the likes of Martha Argerich and Daniel Barenboim.
“The two of them certainly made for a camera-ready pair ...”
“Capuçon's sound is just as distinctive: Plush and velvety, his plummy tone is upholstered by wide vibratos and embellished by dramatic tosses of his black locks.”
“Like actors who, despite the character they play, are always recognizably themselves, both Montero and Capuçon possess musical styles that are unmistakably their own.”
“The loudly appreciative audience was rewarded with the duo's transcription of Rachmaninoff's "Vocalise," a cotton-candy confection of airiness that drew a delighted "Bravissimo!" from the floor.”
Sumi Hahn, The Seattle Times, 17 November 2010
At the Metropolitan Museum of Art, New York
“The cellist Gautier Capuçon and the pianist Gabriela Montero, both passionate musicians, revelled in the work’s Golden Age Romanticism during their recital on Saturday evening at the Metropolitan Museum of Art.”
“Composed for Rostropovich, [Prokofiev’s Sonata for Cello and Piano in C] opens with a meditative cello melody, played searchingly by Mr. Capuçon. The first movement traverses various moods, whose nuances were revealed. Prokofiev’s trademark humor and lyrical gifts are on full display in the witty Moderato."
“Mr. Capuçon and Ms. Montero are visceral musicians, his burnished tone complemented by her robust playing. Those qualities were again evident in the Rachmaninoff, which concluded the program.”
“Mr. Capuçon imbued the cello’s lushly lyrical lines with myriad shadings and Ms. Montero tackled the more virtuosic piano part with aplomb — their richly warm approach was ideally suited to this exuberant, arch-Romantic work. The final movement unfolded in a blaze of color.”
“As an encore, Mr. Capuçon and Ms. Montero, who have recorded these Prokofiev and Rachmaninoff sonatas, offered an intense performance of their own transcription of Rachmaninoff’s tranquil 'Vocalise',notable for Mr. Capuçon’s lovely sotto voce playing.”
Vivien Schweitzer, The New York Times, 15 November 2010
At the Library of Congress, Washington DC
“With his chin-length mane of brown hair, his concentration and his tendency to fall back into his chair like a reclining Roman warrior at the end of particularly intense passages, the cellist Gautier Capuçon looked every inch the prototype of the romantic musician.”
“Tuesday night's concert at the Library of Congress, in other words, was definitely a dialogue between two distinct individuals. Individuals, moreover, with powerful gifts of self-expression. Capuçon, all Sturm und Drang and ardor, dug into the low strings of his cello to produce a loamy, rich sound."
“Capuçon is a French virtuoso who has played with a host of luminaries.”
“The Mendelssohn was no less impassioned, particularly on his part.”
“Capuçon, meanwhile, exulted in the gorgeous lyricism of the second movement, and everyone exulted along with him.”
Anne Midgette, The Washington Post, 11 November 2010
Orchestra of the Mariinsky Theatre, cond. Valery Gergiev / Tchaikovsky Variations on a Rococo Theme, Prokofiev Sinfonia Concertante (Virgin Classics)
“Capuçon's interpretation of the slow section of the scherzo is one of the loveliest imaginable... a performance that communicates with innate understanding. Whether quizzical, rapturous, pensive or demonstrative, Capuçon has full measure of it here in a performance of impressive stature.”
Daily Telegraph, five stars, January 2010
Adelaide Symphony Orchestra / Hadyn Cello Concerto in C
“The real revelation of this concert came with cellist Gautier Capuçon's masterly and vivid realisation of Haydn's Cello Concerto in C. With a suitably Esterhazy-sized band of about 20 players Capuçon drove this little vehicle of enlightened delight with all the skill of a musical Schumacher.”
Adelaide Advertiser, October 2009
Sydney Symphony Orchestra / Dvorak Cello Concerto
“The Sydney debut of one of the world’s finest young cellists”
“Capuçon's richly resonant timbre and strong vibrato was ideally suited to the work's late Romantic idiom. Equally impressive was his forceful projection and agile passagework.”
The Australian, September 2009
Frankfurt Radio Symphony Orchestra, Paavo Järvi / Dvorak & Herbert Cello Concertos (Virgin Classics)
Gautier Capuçon gives a richly lyrical and sympathetic account of Hebert's concerto, reaching heights of eloquence in its beguiling slow movement and revelling in the virtuosity of the finale.”
BBC Music Magazine, four stars, March 2009
“This is not the first coupling of these works, but it is perhaps the most distinguished. The works have much in common and Gautier Capuçon makes the most of the music's melodic appeal. The Dvorak receives a powerful and intense interpretation with some superb orchestral solos to match the soloist's eloquence.”
Sunday Telegraph, February 2009
“Gautier Capuçon captures the work's (Herbert) rhapsodic ambitions and the lyrical charm of its slow movement perfectly.”
The Guardian, February 2009
With R. Capuçon (violin), G. Caussé (viola) & N. Angelich (piano) / Brahms Piano Quartets
“. . .performances here are both beautiful and individual, with passionate, rich-toned playing and infectious energy . . . an easy first choice for a complete set of these wonderful quartets . . .can hold their own with the finest available recordings.”
International Record Review, February 2009
BBC National Orchestra of Wales / ‘Discovering Dutilleux’
“The personality of Rostropovich is imbued in the cello concerto Tout un Monde Lointain played with tremendous authority and passion by Gautier Capuçon.”
Daily Telegraph, February 2008
Cello Sonatas by Rachmaninov and Prokofiev (Virgin Classics)
“My opinion of the French cellist Gautier Capuçon rises with every new CD he produces. Here, rapturously partnered by Montero on piano, he irradiates Rachmaninov's early, gloriously romantic sonata to the point where you just have to stop thinking and wallow instead in the composer's inspiration. That's not to suggest Capuçon and Montero go overboard: they simply find the right voice for Rachmaninov's passionate lines and nervous tension. A wonderful disc.”
Financial Times, February 2008
With Renaud Capuçon and the Gustav Mahler Jugendorchester / Brahms Double Concerto (Virgin Classics)
“Here's a very fine reading of Brahms's Double Concerto from the stellar young Capuçon brothers. They seem incapable of setting a foot wrong on disc and they put their considerable chamber-music experience to great use in Brahms's final orchestral work, with Gautier Capuçon proving an eloquest lead in the vehement first movement.”
Gramophone, February 2008
“There's something totally compelling about this performance of the Double Concerto from the first few bars, when Gautier Capuçon launches into the opening cello solo with a rhapsodic freedom and expressive abandon that seems to sweep all before it... exceptional Brahms playing.”
The Guardian, November 2007
International Chamber Music Season, Queen Elizabeth Hall
From the rhapsodic sensuality of Debussy's still shockingly modern Sonata for Cello and Piano, to the colour-saturation of Ravel's Trio for Piano, Violin and Cello, Gautier Capuçon's clear, amber tone was breathtaking...intonation was exact and true...dynamic range perfectly pitched to the building, the unaccompanied sections astonishingly beautiful.”
The Independent on Sunday, April 2006
“Gautier Capuçon produced a tone of arresting depth and beauty. He played the ‘Prologue’ with fluid sensibility and complete freedom and “Sérénade”, music at once fantastic and light, was given with real panache. The finale was taken absolutely headlong, both Capuçon and (Angela) Hewitt revelling in its rhetoric.”
Classical Source, April 2006
Scottish Chamebr Orchestra / Tchaikovsky Rococo Variations
“Young cellist Gautier Capuçon took the stage for Tchaikovsky's Rococo Variations, directing his immense sound towards the orchestra in a playfully challenging gesture - daring them to join him in an intrepid, liberated performance. They obliged and a mesmerising rendition ensued in which both soloist and orchestra expressed dignity, sensitivity and a mischievous sense of humour.”
The Scotsman, October 2005
“The young French cellist has performed in Scotland several times over the past few years and each time his playing seems more confident and polished; on this occasion, skipping through the technical challenges of the Tchaikovsky with seeming ease.”
The Herald, October 2005