Rostropovitch may be a greater musical personality, but it is still a matter of temperament if one likes his way of interpreting this music. ( I voted for the more easy-going Yo Yo).
The suites in general:
Steven Isserlis for exquisite phrasing. Through this he makes the well known music sound fresh without resorting to peculiarities. Shows a degree of musical intelligence which is rare.
Ophelie Gaillard for performing in a convincing baroqe style (without the HIP-ish exaggerations of her teacher Bylsma). By her the music sounds playful, dansant, energic, spontaneous in the right degree, and without traces of romanticism etc.
(In comparison Rostropovich to me sounds out of style and rather boring/predictable, despite the greatness in terms of surefooted perfectionism, emotional engagement and a certain grandeur.. ).
Harnoncourts old recording of the suites: A good compromise: Good phrasing, convincing style. A tad on the dry side though, as I remember it. (H is better known as a conductor nowadays, of course)
Talking of sound, a sad fact is the overuse of (mainly) artificial reverberation in most modern solo cello recordings on CD I have heard. The sound engineers seem to think that they must help the poor single instrument along ( to sound more like a string orchestra or smth).
It is almost a shocking experience to stumble over a honest-sounding cello recording, say, like the true mono (=not just mixed down mono) of Starker on Saga LP. Suddenly you feel that you have a cellist playing in your living room! Much better than his famous Mercyry Living Presence recording, which in addition has far to much treble in it.
The use of too extreme close-up recordings is another annoyance, I find. One does not come closer to the music by putting ones head into the body of the instrument. (same thing with pornography if you ask me), The sound quality in the Paolo Beschi recording, say, is impeccable, but it puts you in the cellist's place,rather than in a comfortable seat at an ideal distance. Cheers, Olaf.