Tright here’s a daredevil freshness about Nemanja Radulović’s playing that makes this generously crammed disc of Prokofiev seriously rewarding. Over 86 minutes, he tackles the 2d Violin Concerto with the Philharmonia below Santtu-Matias Rouvali, a pair of underperformed sonatas and a seize of approved works and transcriptions with pianist Laure Favre-Kahn.

The concerto receives a refined, supportive reading from Rouvali, who is chuffed to play 2nd fiddle to the indispensable individual flip. Radulović plunges in, his heroic attack and intonational high-wire act virtually upsetting the applecart within the oompah-pah finale. The same gallant dedication can pay dividends elsewhere: within the jaunty Heifetz arrangement of the Gavotte from the Classical Symphony, for instance, or within the spiky march from The Love for Three Oranges.

Reining himself in, Radulović fosters a ravishing sense of dialogue with Johan Dalene within the brushed apart Sonata for Two Violins. The Sonata for Solo Violin advantages from a identical aggregate of poetry and discretion. It’s within the ballet alternatives, on the opposite hand, that he supplies the virtuosic thrills and spills. Romeo and Juliet’s Masks has mountainous rush; there’s a lacerating memoir of the Loss of life of Tybalt, with Favre-Kahn going with him cheek by jowl; and a trio of percussionists lend irresistible spice to the Gigantic Waltz from Cinderella.

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