Mendelssohn's beloved Violin Concerto was the one piece Friday that qualified as mainstream fare, although French-born soloist Nicolas Dautricourt brought a fresh perspective to the piece. Where the opening movement can find violinists slipping into taffy-pull phrasing and over emoting, Dautricourt instead played with a lithe elegance, forward momentum and structural clarity, as if Mendelssohn's inspired melodies needed no special pleading. His tone was small-scaled but expressive, his technique was secure, tempos were brisk and the modest size of the orchestra encouraged a chamber-like back and forth between the soloist, conductor and ensemble.
Mark Stryker, Detroit Free Press, January 2015
Awarded the Sacem Georges Enesco Prize and voted ADAMI Classical Discovery of the Year at Midem in Cannes and, Nicolas Dautricourt is one of the most brilliant and engaging French violinists of his generation. In the 2017-18 season he returns to the Capitole de Toulouse Orchestra; makes his performance debuts with the Royal Philharmonic Orchestra, Liège Philharmonic, and Helsingborg Symphony; and starts the second part of his solo violin project, Bach & Beyond, at the National Recital Hall in Taipei, Taiwan. He appears at major international venues, including the Kennedy Center, Wigmore Hall, Tchaikovsky Hall, Tokyo’s Bunka Kaikan, Salle Pleyel...
This immensely appealing programme created for the Chamber Music Society of Lincoln Center showed the charisma and intensity of Nicolas Dautricourt, the fiery violinist from Paris...Schubert’s Rondo brilliant in B minor proved true to its name, with Dautricourt as graceful in its long lines as he was in those of Ysaÿe’s Poème élégiaque that followed...And, when appropriate, Dautricourt is not afraid to use a gruff tone, which he also deployed in an athletic, exhausting reading of Bartok’s Sonata No.1 that closed the evening.