As with previous issues in this ongoing series, Christian Zacharias plays with impeccable style and a beautiful, singing tone. So does the Lausanne Chamber Orchestra, and both are extremely well recorded. Zacharias does particularly well where the music calls for pathos: the minor-key variation in the finale, and the entire slow movement of Concerto No. 18. The only thing missing from these immaculate performances is a sense of drama in the quick music. For example, the opening of Concerto No. 17 begins delightfully, with chortling woodwinds well captured, but the tension tends to sag afterward, particularly in the music of the second subject. The finale of Concerto No. 18 also droops–just a little, but enough to lend the music a somewhat precious quality.
In any case, these reservations will be very much a matter of personal taste. If you prefer your Mozart with a bit more edge, then you might not find Zacharias to your liking. Part of the problem may stem from the dual role of soloist and conductor. Comparing these performances to Schiff and Vegh on Decca, you can hear the advantage of having two personalities devoting their full time and attention to their respective jobs. It’s one thing to play exquisitely, and another to characterize fully, but there’s no denying the high level of musicianship at work here. If that sounds like damning these performance with faint praise, it’s only because the players themselves are surely capable of delivering still more.
