Arts-Scène Diffusion

Emmanuelle Bertrand


Concerto pour violoncelle n°1 - Sonate pour violoncelle et piano op. 40

Dmitri Shostakovich

Concerto pour violoncelle n°1 - Sonate pour violoncelle et piano op. 40

Harmonia Mundi, 2015

Emmanuelle Bertrand violoncelle
Pascal Amoyel piano
BBC National Orchestra of Wales, dir. Pascal Rophé

Deux chefs-d'oeuvre de Chostakovitch destinés au violoncelle soliste et séparés de 25 ans : à l'insolente Sonate opus 40 de 1934 répondent en 1959 les amères interrogations d'un compositeur qui semblait avoir sombré dans la dépression. Ce Concerto pour violoncelle se termine avec la méchante caricature d'une vraie joie, parachevant l'extrême polymorphie d'un humoriste traumatisé et qui avait depuis longtemps désappris à rire...


Concerto pour violoncelle n°1 en mi bémol majeur, op. 107
Sonate pour violoncelle et piano en ré majeur, op. 40
Moderato pour violoncelle et piano


Fono Forum

Alle Achtung! Die französische Cellistin Emmanuelle Bertrand legt eine Interpretation von Dmitrij Schostakowitschs erstem Cellokonzert vor, die es an Ausdrucksintensität und permanenter Hochspannung mit der Mstislaw Rostropowitschs, dem Widmungsträger des Werks, unbedingt aufnehmen kann. 

Classics Today, 2013

This is one hell of a performance of Shostakovich’s First Cello Concerto. Emmanuelle Bertrand and conductor Pascal Rophé team up to produce one of the most intense and neurotic versions yet of this intense and neurotic piece. Lire l'article complet

Joanne Talbot, The Strad, July 2013

[a] clear recording with a forceful narrative, building up great intensity into the fleet-footed finale, where she [Bertrand] is incisively partnered by the BBC National Orchestra of Wales [...] Masterfully partnered by Pascal Amoyel, she adeptly combines the forces of irony and fantasy in the second Allegro of the Sonata. But it is the hauntingly eloquent suffering of the Largo where both players are most evocative.

David Fanning, Gramophone Magazine, June 2013

Bertrand is nothing if not a gutsy player. The close-up recording captures her every breath and every rasp of bow on string. Pascal Rophe makes sure that the BBC NOW responds in kind [...] If she is as good live as she sounds here, and if she is as full of insight in the rest of her repertoire, I would certainly travel a distance to hear her [...] The Sonata, too, with Pascal Amoyel as much accomplice as accompanist, is individual without ever sounding forced. Bertrand gives us one of the dreamier accounts of the first movement and one of the most reined-in of the scherzo.

Helen Wallace, BBC Music Magazine, May 2013

[Bertrand] wears the piece lightly, dancing rather than carving through it, with a silvery line that can be ghostly or piercing but never gruff [...] her bright, neat staccato is effective even if climaxes lack heft [...] The BBC National Orchestra of Wales under Pascal Rophe, however, really does dance on hot coals and give the requisite blast [...] [the Moderato in A minor] has a haunting poetry and one can hardly imagine it better played ***

Robert Matthew-Walker, International Record Review, May 2013

In the Concerto, almost all of the playing is of intense musicality and virtuosity, which this highly original work demands...I feel that Bertrand does overdo at times the 'expressive' nature of her interpretation, but this observation is brought about solely because the rest of her performance is so impressive.

Bertrand Dermoncourt, Classica, 2013

Dans cette œuvre de jeunesse, Emmanuelle Bertrand et son habituel complice Pascal Amoyel ont choisi les options les plus intimistes, les phrasés les plus souples, les échanges les plus délicats, à l’opposé d’une certaine tradition qui tire la partition, peut-être à tort, vers des états plus amers.


Chostakovitch, Concerto pour violoncelle n°1 op. 107 en Mib Majeur I. Allegretto

avec le BBC National Orchestra of Wales, direction Pascal Rophé
Label Harmonia Mundi, 2013

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