Isata Kanneh-Mason


Managed in association with Enticott Music Management


Isata Kanneh-Mason’s debut album, Romance, drew popular and critical acclaim, entering the UK classical charts at No. 1 when it was released in July 2019 and leading Gramophone magazine to extol the recording as “one of the most charming and engaging debuts” and Classic FM to praise Isata as “a player of considerable talent”. Isata recorded the all-Clara Schumann disc for Decca Classics as an homage to the composer and pianist in the year of what would have been her 200th birthday, selecting works from across her compositional output including solo piano pieces, a sonata, chamber music with violinist Elena Urioste, transcriptions of two of her husband Robert’s songs, and the piano concerto, which she recorded with the Royal Liverpool Philharmonic Orchestra and conductor Holly Mathieson.

Whilst continuing her postgraduate studies with Carole Presland as a Gwendolyn Reiche scholar at London’s Royal Academy of Music, Isata Kanneh-Mason has embarked on a successful and increasingly busy concert career as a solo artist, with concerto appearances, solo recitals and chamber concerts throughout the UK and abroad, including a return to King’s Place in solo recital, and a debut with the Royal Philharmonic Orchestra at the Royal Albert Hall.  Isata also continues to perform with her siblings, including regular duo recitals with her brother, the cellist, Sheku Kanneh-Mason.  Highlights this season include a tour of Italy, appearances at the Edinburgh Festival, Wigmore Hall, Amsterdam Concertgebouw, Théâtre des Champs Elysées, Rheingau Festival, and an extensive ten-city North American tour, including their debut recital at New York’s Carnegie Hall and a return to the Vancouver Recital Society.

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An additional treat was seeing him perform with his sister Isata, three years his elder. There could be few more riveting experiences than witnessing the strength, passion and assured virtuosity in a cellist so young. Even more important was how much love and feeling he expressed for the music he was playing, never shying from lyrical depth and expressive nuance, and supported to a tee by his sister.

Vancouver Playhouse

Sheku gave its Largo a yearningly elegiac tone, and for the whirling finale he roughened his sound exhilaratingly while Isata stressed the angularities of her piano part.

This was a triumphant coming-out for these immensely engaging players: a star duo is born.

The Independent