In life and music, Grammy Award-winning tenor Karim Sulayman is a master storyteller. Where Only Stars Can Hear Us is a journey through the songs of Franz Schubert, a composer who was able to capture joy and sorrow in a single moment like no other. Karim’s voyage traverses themes of darkness and yearning, guided throughout by moonbeams and shining stars. His partner is historical keyboardist Yi-heng Yang who plays on a fortepiano built by Joseph Simon in Vienna in 1830, adding an air of authenticity from Schubert’s time. “lucid, velvety tenor and pop-star charisma” (BBC Music Magazine) “a pianist of “astonishing skill and vividness” (The New York Times)



REVIEWS:

Sulayman is always engaging, with an appealing honesty to his approach and a vividness to his storytelling. His light, silvery tenor is in many ways suited to much of the programme’s theme, but the flipside is a paleness and shortness of sap and sweetness; nor does the tenor’s German always feel entirely natural. Adjust to the tone, though, and there’s still a great deal to enjoy in these performances.

– Gramophone

This Schubert has its priorities straight. Text comes first in Sulayman's interpretations. The small inflections in his timbre convey textual themes equally well to audiences of all German-speaking levels. From the seemingly bratty child in Erlkönig (RIP), to the poignantly longing fisherman of Des fischers Liebesglück, he is an actor first.

His voice is clear and transparent. He barely covers his sound, allowing every ounce of that underlying emotion to shine through.

Both performers treat these lieder as chamber music. It's unclear who leads the stretches that come so often throughout the album, but whenever one part pushes, the other follows. Yang's slightly delayed cadences gain weight with a quick breath from Sulayman. Sulayman stretches a phrase climax, Yang rolls a chord to help accent. The two work symbiotically, melding the intense drama from each of their parts into a composite, deeply affecting pathos.

– Classical Music Geek