Unless you are a cello student, you probably are not aware that Jacques Offenbach of operetta fame composed numerous duos for two cellists. Because Offenbach was a cellist, his handling of the instrument is unsurprisingly idiomatic, and, needless to say, abundantly tuneful. One would think that monotony or fatigue would set in after hearing several three-movement duets in succession, and with all repeats observed. Yet Offenbach’s canny use of registers and judicious partitioning of melody and accompaniment between the players always manage to hold your attention. So does the impeccable intonation, ensemble unanimity, and intelligently nuanced phrasing that cellists Andrea Noferini and Giovanni Sollima bring to the table.
A good example of their discreet vibrato can be found in Op. 19 No. 1’s Theme with Variations, while the Op. 21 No. 3 Scherzo’s scampering triplet detaché patterns never sound scratchy. Ease and eloquence characterize high-lying passages (Op. 52 No. 1’s opening Allegro, for instance). Even the most technically exposed of the Op. 78 Etudes pose no problems, as the cellists’ effortless dispatching of No. 1’s cascading figurations and deft navigation of the fleet, Mendelssohn-like No. 6 bear out.
Noferini and Sollima also allow themselves spontaneous leeway when the music calls for it. Here listeners might lean toward the surface polish and more studied demeanor of the Anne Gastinel/Xavier Phillips recording on La Dolce Volta. However, for overall artistry, comprehensiveness, and sonic excellence, Noferini and Sollima surpass the fine albeit dryly engineered Paul Christopher and Ruth Drummon Offenbach cycle released on the Human Metronome label.
One detail of discographical housekeeping is worth mentioning. I was aware of a 2011 release with Noferini and Sollima playing the Op. 49, 51, and 54 Offenbach duets. Since the complete boxed set cites all of the recordings having taken place between 2020 and 2021, I naturally assumed that the duo had rerecorded these three opus numbers. However, the movement timings for both releases are identical. Comparative listening revealed striking similarities between performances, yet I couldn’t help but notice the newer edition’s more robust engineering. I eventually learned that the 2011 Op. 49, 51, and 54 recordings were indeed remastered for the present release.
Perhaps general listeners will find eight hours worth of Offenbach cello duos too much of a good thing, yet Brilliant Classics’ edition is self-recommending to all cello students, cello pedagogues, and, needless to say, cello fanatics.
