Ignore the dewy blushing rose and the appelation ''romantic Violin Concertos'' adorning this record sleeve, and you are well away. The performing character of the young prize-winning violinist, Adelina Oprean, is ideally suited to these blithe, gracious eighteenth-century works: she is a player of whimsy, gentle reflection and quicksilver sensibility, and she makes the mischievous final minuet of the Viotti, no less than its purposeful opening, a delicious flight of entirely stylish fancy. This concerto, written for the itinerant virtuoso, has an Adagio cut out to show off the increasingly rich expressive potential of the developing bow: Oprean is fully aware of this, inflecting the shifting timbres of the G string in a movement disarmingly reminiscent of middle-period Mozart. The playing of the ECCO is another positive pleasure of this warmly recorded performance. They do their best to be alert, enthusiastic accompanists in the frankly anodyne Fiorillo work, with the last movement's horn dialogue providing ebullient relief from the concerto's anaesthetizing moderation of manner and matter. Oprean puts a brave face on it, too: the sweet, slender thread which she winds through the first movement captures nicely its melancholy valediction to the eighteenth-century Romance.'