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British rising star, classical pianist Isata Kanneh-Mason and her six siblings, all of whom are accomplished musicians, first made waves on Britain’s Got Talent in 2015. Kanneh-Mason has since emerged as a unique voice within her generation – carving out her own path as a soloist, recitalist, chamber musician, and prolific recording artist.
British rising star, classical pianist Isata Kanneh-Mason will make her debut with the Toronto Symphony Orchestra (TSO) on March 22, 23, and 24, 2024 at Roy Thompson Hall.
Visual elements are as much a part of Kanneh-Mason’s unique presentation as is her playing. Challenging the traditional formality of classical concert presentation, she brings a fresh, bubbly, and creative presence to the stage with her bright, colourful attire. In a world of stiff competition and conventional concert programs and performances, Kanneh-Mason remains true to herself—a candid authenticity that draws in listeners and fans worldwide.
Kanneh-Mason’s work as a soloist and collaborative artist (notably with brother, cellist Sheku Kanneh-Mason) was recognized by the Leonard Bernstein Award in 2021. Her exquisite and precise playing reveals sensitivity and musicality, both of which she often uses to explore themes of innocence and childhood. Kanneh-Mason’s playfulness and rhythmic swing is evident in her recording of Debussy’s Golliwog’s Cakewalk from “Children’s Corner,” while her maturity, musical depth, and polished sound suit Schumann’s Traümerei beautifully.
Her TSO debut will feature Sergei Prokofiev’s Third Piano Concerto, Op.26 in C major – a war horse of the concerto repertoire. “I heard this concerto for the first time when I was eighteen, and it reignited a fire and an excitement in me,” says Kanneh-Mason. “The music speaks to a place deep inside of me, I feel very free when I perform it,” she adds.
Asked about her favourite Prokofiev concerto recording, she notes that she gravitates “towards the famous Martha Argerich recording with Charles Dutoit” (1997). She praises their edgy, exciting, passionate performance. “Prokofiev has some incredibly still, pianissimo moments, and then some crazy moments, [in which]there is so much happening in the texture. I think the music needs a lot of rhythmic clarity. and this recording does that so well.”
Argerich is not the only female pianist that inspires Kanneh-Mason. Fanny Mendelssohn-Hensel, Felix’s long overlooked and highly talented sister, has recently become an important figure for the British pianist, who has performed her Easter Sonata both on tour, and in a documentary film about Fanny’s life.
The young pianist also notes the influence of Clara Schumann – the 19th-century pianist, composer, and devoted wife to Robert Schumann. Upon hearing Clara’s Piano Concerto in A minor and Scherzo no. 2 for Solo Piano, Kanneh-Mason was instantly drawn to her passion, and melodic inventiveness. “I connected with it on an emotional level: my first album, Romance, was [dedicated to]Clara Schumann’s music. I am inspired by her as a person as well. She showed such strength, despite all the adversities she faced as a female performer throughout her life.”
Kanneh-Mason recognizes that the classical music landscape has opened itself up to women a great deal, since the days of Clara and Fanny. “[Today, there are] many contemporary female composers, and it’s become a normal thing to be a female performer or conductor. There’s still work to be done, but it’s a very different thing now than it was 200 years ago—you’re up against much, much less,” notes the young pianist. “We still see many more male pianists out there, and a few really strong women pianists that have broken through the mould,” she adds. “I think the biggest challenge [we are facing]is changing our perceptions around women performers and giving them the same level of respect that we would to their male counterparts.”
Besides cultivating connections, Kanneh-Mason attributes her success to her work ethic, her eagerness to accept each opportunity that comes her way, and a commitment to giving her “all to every single performance.” She stresses the value “really putting yourself out there”: meeting other musicians, creating opportunities for collaboration and musical partnerships. “I think that’s how I am where I am now,” says Isata. “I planned on winning a big competition, but, sometimes, you have to adapt, because it doesn’t work out the way you would think it will.”
The oldest of seven siblings, Isata Kanneh-Mason enjoyed being the leader when they were all kids, “in a very childlike way.” As young adults, the siblings have formed a remarkably nurturing support system between themselves. Kanneh-Mason credits her parents for prioritizing their education and encouraging each of them to follow their dreams by taking them to London for music lessons, keeping up with their progress, listening to their practices, and allowing them to pursue hobbies, alongside their schooling and musical activities.
“I feel so grateful towards my parents, they sacrificed so much to make sure we had as many opportunities as they could give us. I think that’s the best thing that you can give a child, it sets you up to choose what you want to do, while having the right amount of support and nurturing to excel in [your passions]. I feel so lucky to have had that.”
Alongside the Prokofiev concerto, the TSO – conducted by Ryan Bancroft – will perform Anna Clyne’s Within Her Arms, a work written for 15-piece string ensemble, conceived as a meditation on life and loss, inspired by the death of Clyne’s mother. The concert will conclude with Shostakovich’s emotional Tenth Symphony (1953). Composed after Joseph Stalin’s death, the work is widely understood to be a depiction of the Stalin years in the Soviet Union, a period wrought with violence and terror.
Kanneh-Mason and guest conductor Ryan Bancroft will join the TSO for this fiery program on Friday March 22, Saturday March 23 and Sunday March 24 at Roy Thomson Hall.
For more information: www.tso.ca/concerts-and-events/events/prokofievs-piano/
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