A Chamber Dialogue of Colour and Character, Zihan Sun.
RNCM Concert Hall, Manchester – 12 December 2025
*
RNCM Concert Hall, Manchester – 12 December 2025 *
On a crisp December evening, the RNCM Concert Hall welcomed a chamber recital that wove together subtlety, color, and intimate musical dialogue. Anchoring the ensemble was pianist Zihan Sun, performing alongside bassoonist Leonardo Bizzotto and oboist Anna Turner in a program of twentieth-century French repertoire. The hall, softly lit and moderately filled with students, faculty, and local listeners, buzzed with curiosity and anticipation. From the moment the performers took the stage, it was clear that the evening would be defined by attentive listening, nuanced interplay, and refined musical conversation.
The recital opened with Marcel Bitsch’s Concertino for Bassoon and Piano. Bizzotto’s bassoon tone was centered and expressive, articulating both lyrical and agile passages with precision. Sun’s piano provided a clear, supportive framework, balancing harmonic depth with rhythmic clarity. Their musical dialogue felt natural; each responded to the other’s phrasing, allowing the melodic line to unfold organically. The quieter passages revealed the warmth of Bizzotto’s lower register, while Sun’s touch remained luminous and transparent, highlighting both stability and nuance. The audience, visibly absorbed, applauded with a sense of earned recognition rather than routine courtesy.
Following a brief adjustment, Turner joined for Francis Poulenc’s Trio for Oboe, Bassoon, and Piano. Turner’s oboe brought a bright, lyrical timbre that contrasted beautifully with Bizzotto’s rounded bassoon lines. The ensemble’s interplay in the opening movement felt conversational, with each musician attuned to the others’ expressive choices. Sun remained the rhythmic and harmonic anchor, guiding both winds with a sensitivity that allowed every voice to emerge clearly. The slow movement was particularly compelling: the trio allowed the music to breathe, taking slightly broader tempi and shaping phrases with patience. The blend between oboe and bassoon was especially effective, their lines intertwining over Sun’s restrained accompaniment. The audience’s engagement was evident in the attentive silence that followed each phrase, lingering before applause.
In the final movement, the ensemble captured Poulenc’s characteristic wit without overemphasis. Rhythmic exchanges between Turner and Bizzotto were lively and precise, while Sun’s piano phrasing provided cohesion and balance. Each musician’s individuality was evident, yet the trio sounded unified rather than competitive. The performers’ attentiveness to one another created a sense of shared purpose, turning technical precision into expressive dialogue.
Across the program, the ensemble demonstrated a strong sense of proportion and cohesion. Tempi were well judged, transitions between sections felt organic, and interpretive choices favored clarity and balance over overt display.
Zihan Sun’s artistry stood at the heart of this dialogue, her technical command and collaborative insight guiding the ensemble, but the recital was equally shaped by Bizzotto’s expressive bassoon and Turner’s lyrical oboe. Together, they created an intimate yet expansive exploration of French chamber music, defined by listening, responsiveness, and shared artistry. As the performers took their final bow, applause was warm and sustained, reflecting the audience’s appreciation for the trio’s collective achievement. The evening was a thoughtful, well-executed celebration of instrumental color, ensemble interplay, and the art of chamber dialogue.
Sun’s artistry is matched by her remarkable collaborative instinct, seamlessly balancing clarity, sensitivity, and responsiveness within the ensemble. Her musical maturity and dedication suggest a trajectory toward becoming a leading voice in the classical music world, one whose performances will continue to inspire both audiences and colleagues alike.
