It was an evening full of sonority, charm and friendliness in the Prinzregententheater, where the Camerata Salzburg performed, expertly conducted by their concertmaster Gregory Ahss. But at the center was an exceptional soloist: the British cellist Sheku Kanneh-Mason. Its wonderfully boyish charisma is paired with bowing precision, electrifying pharasing intelligence, a clear, almost sunlit cello tone that is free from any act of violence. There is no inarticulate roaring in the low registers and no pushed-out top notes. Rather, Kanneh-Mason’s Goffriller cello sounds light, carefree and transparent and balanced in all regions in the best sense of the word.
This fits in perfectly with Joseph Haydn’s Cello Concerto No. 2 in D major, the key of which seems to hover above the ground, provided you can perform it as airy and touch-free as Sheku Kanneh-Mason. The Salzburg ensemble did everything to support the soloist, who communicated happily and with great attention to the orchestra. One of its strengths is rhythmic sovereignty that avoids any rushing or dragging. Suddenly the virtuosic passages in the higher registers didn’t seem strained, but relaxed and funny.
Kanneh-Mason is one of those rare and unusual musicians who always have time to shape, play out and emphasize. His unmistakable feeling for the carrying capacity of the sound unfolded in the Adagio without difficulty, as a matter of course and naturally. This musician, who is winning in every respect, also savored the jokes of the final rondo en passant without having to emphasize anything. Accordingly, the cadenzas did not get out of hand, but fit into this music-making, which is so impressive due to its serenity. Sheku Kanneh-Mason thanked the roaring applause with a thoughtful improvisation.
Before that, the Salzburg Camerata first played Haydn’s Symphony in G major No. 27 with verve and commitment. After the break there was Wolfgang Amadé Mozart’s Divertimento KV334, also in the light key of D major. With all the praiseworthy concentration and playfulness, a conductor would not be a bad idea here, because Mozart’s surprising complexity, his refined polyphony could have come out even better.