Lush and cinematic: Capuçon lends romantic weight to two contrasting 20th-century works.

Pairing the chilly mystique of Sibelius with the lush lyricism of Barber might seem a curious choice, but violinist Renaud Capuçon finds a rich throughline. His golden-hued tone and unashamedly romantic phrasing bring the two composers into unexpected alignment—especially in a Sibelius that leans toward warmth over austerity.

Capuçon’s opening in the Finnish composer’s concerto is all yearning and breadth, each phrase deliberate and expressive, with tasteful slides adding to the drama. It’s a bold, almost operatic approach, supported by Daniel Harding and the Orchestre de la Suisse Romande, whose playing is equally muscular and cinematic. The brass snarls, the climaxes hit hard—but it’s not all firepower. There’s control here too, except in the finale’s squirrelly episode where Capuçon’s heft momentarily weighs down the fleeting figures. Barber’s concerto is a more natural fit. Capuçon luxuriates in the sweeping first movement and brings brooding focus to the more unsettled second. Even the brisk, breathless finale—too often reduced to showpiece fodder—gets a dose of character, if not total conviction. Throughout, Harding shapes the orchestra with precision, and the winds glimmer just enough to complement, never outshine, the Hollywood gloss of Capuçon’s tone.