Deeply expressive, virtuosic cello sonatas from Sheku and Isata Kanneh-Mason

Sheku and Isata Kanneh-Mason
© James Hole

Sheku Kanneh-Mason (cello)

Isata Kanneh-Mason (piano)

7.30pm, Tuesday 28 May 2024

Barbican Hall, London

★★★★

Felix Mendelssohn (1809-1947): Cello Sonata No. 1 in B flat major, Op. 45

Ludwig van Beethoven (1770-1827): Cello Sonata No. 5 in D major, Op. 102 No. 2

Gabriel Fauré (1845-1924): Cello Sonata No. 1 in D minor, Op. 109

Frédéric Chopin (1810-1849): Cello Sonata in G minor, Op. 65

Encore:

Chopin: Largo from Cello Sonata in G minor, Op. 65

Sheku & Isata Kanneh-Mason
© Nick Boston

Mendelssohn:

'It is a lightly joyful work, and Sheku and Isata played with nimble delicacy'.

Beethoven:

'From the funereal opening, with Isata’s low soft chords and Sheku’s long sustained line, right through to the final falling harmonies and low cello notes to end, they showed remarkable sensitivity in this typically profound late Beethovenian statement'.

Fauré:

'Sheku and Isata passed the melodic fragments back and forth, with some deft pedalling from Isata in the central movement in particular to avoid muddying the line among the rich textures'.

Chopin:

'... it was the sad, lyrical Largo that sat at the heart of this performance, Sheku and Isata at their expressive best, each seamlessly taking the baton of sustained melody from the other'.

Isata & Sheku Kanneh-Mason
© Nick Boston

'This was an impressive evening from two rapidly maturing performers, not afraid to bring chamber music to audiences more familiar with more standard virtuosic concerto displays'. 

Read my full review on Bachtrack here.

Strong cast brings fizz to Glyndebourne's colourful Zauberflöte revival

James Platt (Sarastro)
© Glyndebourne Productions Ltd/Bill Knight

Constantin Trinks (Conductor)

Barbe & Doucet (Direction & Design)

Patrick Martel (Puppet Designer)

Mikey Brett (Revival Puppet Coach)

Guy Simard (Lighting Designer)

Orchestra of the Age of Enlightenment

Matthew Truscott (Leader)

The Glyndebourne Chorus

Aidan Oliver (Chorus Director)

Alina Wunderlin (Queen of the Night) & Lauren Snouffer (Pamina)
© Glyndebourne Productions Ltd/Bill Knight

Paul Appleby (Tamino)

Ann Toomey (First Lady)

Corenna Scheurle (Second Lady)

Leia Lensing (Third Lady)

Rodion Pogossov (Papageno)

Alina Wunderlin (Queen of the Night)

Alasdair Elliott (Monostatos)

Lauren Snouffer (Pamina)

Oliver Barlow (First Boy)

Sam Jackman (Second Boy)

Oliver Hull (Third Boy)

Michael Kraus (Speaker)

James Platt (Sarastro)

John Findon (Second Priest, First Man in Armour)

Callum Thorpe (First Priest, Second Man in Armour)

Julieth Lozano Rolong (Papagena)

Parkey Abeyratne, Ashleigh Cheadle, Victor Itang, Yana Penrose, Gun Suen, Ben Thompson (Puppeteers)

Leia Lensing, Corinna Scheurle & Ann Toomey (Three Ladies)
© Glyndebourne Productions Ltd/Bill Knight

5pm, Saturday 18 May, 2024

Glyndebourne Opera House, Glyndebourne 

★★★★

Wolfgang Amadeus Mozart (1756-1791): Die Zauberflöte

(libretto by Emanuel Schikaneder (1751-1812))

'Visually, the production is delightful'.

Puppeteers
© Glyndebourne Productions Ltd/Bill Knight

'As is often the way, Papageno frequently stole the show, with Rodion Pogossov delivering the comedy just the right side of pure slapstick, with plenty of deft sight gags, but convincing in his mischievously reluctant character. His direct baritone matched Paul Appleby's lyrical tenor well vocally, and they formed a great double act, contrasting the simple innocence of Appleby’s Tamino with Pogossov’s comic resistance'.

Rodion Pogossov (Papageno)
© Glyndebourne Productions Ltd/Bill Knight

'Alina Wunderlin was a dazzling Queen of the Night, with crystal accuracy and energy, but also capturing Barbe & Doucet’s intention to elicit some sympathy for the character, shifting away from the usual one-dimensional pantomime baddie'.

'Lauren Souffer's Pamina had more strength of character than is often the case, with warm, touching tones, and James Platt’s Sarastro had weight and depth of tone, as well as gravity in delivery'.

'As a visually joyful celebration focussing on the positives of Mozart’s magical music and a fairy-tale, Enlightenment triumph of truth over darkness, this certainly delivers, and strong performances throughout made for a convincing opening for this revival'. 

Read my full review on Bachtrack here.