Some solo artists give performances that seem to reflect a talent that the performer was born with. For his US concerto debut, British cellist Sheku Kanneh-Mason gave the impression that he had been playing the cello since he was in the womb. In a performance that shook the rafters of Benaroya Hall with its display of virtuosity, Kanneh-Mason gave a rendering of Tchaikovsky’s Variations on a Rococo Theme that proved worthy of the royalty for whom he so famously performed.
Kanneh-Mason chose the Seattle Symphony Orchestra as well as one of his instrument’s most challenging works — often thought of as a litmus test for cello proficiency — for his stellar orchestral debut. His reputation precedes him: previously named the BBC’s Young Musician of the Year (2016), and having made his solo recording debut this past January, the young cellist attained superstar status with his splashy appearance as soloist for the royal wedding in May. He lived up to the hype with his virtuosic rendition of the Tchaikovsky, making his 17th-century Amati instrument sing and dance to Tchaikovsky’s irresistible melodies and captivating rhythms.
Mozart was Tchaikovsky’s musical god, and 18th century refinement (to which he so deftly paid homage in Act 2 of his opera, The Queen of Spades), is the name of the game in this Baroque-Romantic crossover piece, the composer’s version of a cello concerto. Kanneh-Mason delivered on all fronts, with an uncanny understanding of both the stylistic and technical challenges inherent in the work. He is clearly a born performer, demonstrating a physical naturalness for the stage and a keen stylistic awareness. His extreme youth and relative inexperience showed in slight lapses in intonation in the upper register and occasional lack of robustness in tone. Undoubtedly these minor details will correct themselves as he rides the wave of what surely will become a spectacular career.
German-born Ruth Reinhardt, a former SSO conducting fellow (2015-16) and fresh from her two-season stint as Assistant Conductor of the Dallas Symphony, showed herself as capable of leading an orchestra and interpretatively sensitive to the wide variety of styles that the program demanded of her. It seemed fitting that, in the year of Leonard Bernstein’s centenary, Reinhardt opened with Schumann’s Manfred Overture, Op.115, the piece with which Bernstein made his spectacular New York Philharmonic debut in 1943. The work is difficult and subtle, not at all a straightforward declamation of Romanticism. Reinhardt’s opening could have been more aggressive, but her graceful, magnanimous gestures brought out the dark, brooding complexities of Schumann’s tragic depiction of the torment of Byron’s Count Manfred.