What has 24 legs, 12 souls and 1 voice? You guessed it. What makes Chanticleer the marvel that it is? I will tell you. Each singer is a soloist. Each singer is not an egotist. Ergo, the ensemble is made up of fabulous, unselfish artists who perform for the good of the whole, for the good of the music, and ultimately, for the good of our ears. I looked up the word “blend” in the dictionary and it read: see Chanticleer. Yes, the beauty of sound is overwhelming, the detail to dynamics is unparalleled, and the musicality is unmatched. The success of Chanticleer really lies in the fact that, in addition to the voices themselves, they listen to one another. They LISTEN. Sometimes, I think there is more listening going on than singing. How else could the attacks and cut offs be so precise? How else could the blend (again) be so pure? How else could the essence and message of the music be so unforgettably presented?

Case in point: at 6 pm on Wednesday, December 21, at the Carmel Mission, Chanticleer offered a variety of selections covering music from the late 1500’s to today. Each period of music, each season, was true to the time and to the composer. Each selection was treated as if it were gold; full of nuance, care and respect. Singing early works, an ensemble must be clear and clean, and so very much in tune. They were. To sing the “modern” pieces (A Hymn to the Virgin, Lulajze, Jezunin and Die Stimme des Kindes) an ensemble must be fearless, confident and very, very talented. They were. The modern works were my personal favorites because they were filled with such powerful dissonance and intricate moving lines. They were at a level of difficulty to which any musician should aspire.

If you did not hear Chanticleer this time around (or if have never heard Chanticleer) you MUST go next year. You MUST get your tickets NOW. If you don’t, “the angels will weep for you” (Shaw).

Soap box: Any performance by any performer in any discipline should be performed for the connoisseur. Chanticleer delivers.

End

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the greater Monterey Peninsula for over thirty years.

As my wife and I climbed into our car for the ride home after hearing the incredible concert at the Carmel Mission by Chanticleer, all we could say was, “That was so beautiful, I never have to hear another concert as long as I live!” It’s true. This evening was a treat; a joy to the ear for which I have no other choral comparison.

It would be a waste of time to go through the program and tell you that the ensemble sang this and that from this century or that musical period or tell you that they performed works by this composer or that. This concert was about grace, style, harmony, sound, joy, diction, charisma, involvement, invitation, and total satisfaction. Let me simply describe the experience.

The most fantastic, mind-blowing part of the evening was that the listener felt that the 12-voices were one. I have never heard anything so rare, so unique. The ensembles were seamless, flawless. The diction was perfect for the hall and not over blown. The group was formal yet inviting and accessible. The connection to the audience was immediate and pervasive. The audience, like-wise, never coughed, sniffed or opened a throat lozenge. They were enrapt. They never moved, never breathed. Why? Chanticleer deserved its attention, its respect.

Plainsong was sung the way plainsong should be sung. It had line, purpose and beautiful tone. Throughout the performance, the intimate pianissimos and full throated fortes were tasteful and complimentary. Their musicality was unmatched, interpretation stunning. Where is my thesaurus?

I will mention three pieces in particular. “The Word Became Flesh” by Jan Sandstrom (commission funded by the Osher Pro Suecia Foundation) was a modern piece (Sandstrom born 1954) and it was a glorious, totally satisfying work that I can’t wait to hear again. The others were “Suo gan” a traditional Welsh piece, arranged beautifully by Lawrence Wiliford.  What a stunning work. The other was a setting of “In the Bleak Midwinter” by Gustav Holst and arranged by Joseph Jennings. Both of these pieces brought a tear to the eye and were exquisitely performed.

I am so glad I heard this concert!

Soapbox: I know it sounds like I might be related to someone in this group or that I was paid to say what I said. I am not related and I have received no money (yet). All I can say is, I will never miss another Chanticleer concert.

End

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the greater Monterey Peninsula for over thirty years.

Director John Koza

It’s that time again; that time where every choral group whips up its own way of saying Happy Holidays and we wish you  the very best! Most do so with great fanfare and lots of relatives in the audience. Isn’t it nice to know that some local ensembles have a reputation of always delivering a first-rate, interesting and entertaining evening of sound that is good for the ears, heart and soul? The Camerata Singers have shown, once again, that, like Santa Claus, they deliver.

Friday night, St. Paul’s Episcopal Church in Salinas was the site for their most recent event. How nice it was to be greeted by very young, polite children (probably 3-7 years old) who handed out programs and a sweet “Happy Holidays.” Thank you!

The program itself was entitled A Day for Dancing (no one actually danced but the music sure did) and featured a varied list of mostly Spanish and English with one Poulenc, an African piece and a world premiere by local Camerata soprano, Julia Turner. John Koza, once again, set the mood for a wonderful holiday season. The concert will be repeated on December 18, at the Carmel Mission at 8 pm, and on December 19, at the First United Methodist Church, in Pacific Grove, at 3 pm.

The performance began with Riu, riu, chiu (Spanish, 16^th century) that was rousing and rhythmic and featured fine solo moments by Jeff DeMarco, Robert Ramon and Michael Russell. Two subsequent pieces were “The Shepherd’s Carol” by John Jacob Niles and “March of the Christmas Children” by Sebesky. The Niles could have used better diction but the Sebesky made up for it with a solid choral sound and fine balance. The very difficult Salve Regina by Francis Poulenc was well performed. Here the ensemble showed its true musicianship and capabilities. Koza’s ensemble never shies away from a challenge.

Next on the program was another “The Shepherd’s Carol” but this setting was by Chilcott. It is beautiful and begs for the singers to sing out more as the church sometimes tends to swallow the sound and make the ensemble seem far away. This piece could have used more volume.  More Spanish rhythms and complexity followed with two carols by Carter, “Spanish Lullaby” and “Spanish Carol”.  These two were the highlight of the evening thus far and were very satisfying with a beautiful solo by Tonya Legasi. Her voice was lovely.

The first half ended with more rhythmic dances and more fine execution in “Carols of the Nativity” by Alwes.  The Coventry Carol was exquisite with featured moments by both the men’s and ladies’ sections and ended with nature providing a wonderful compliment of rain on the roof of the chapel. It was magical.

The second half presented nine dances by Lloyd Pfautsch called “A Day for Dancing”. These songs were accompanied by the fine trio of Karen King, flute; Claire Horn, oboe; and Jane Orzel, bassoon. The dances weaved in such well-known melodies as “Lo How a Rose Ere Blooming” and “Because All Men Are Brothers.” The pieces were sometimes haunting, sometimes almost sea shanty in nature, at times stunning, at times just flat out fun. All were performed wonderfully especially “The Dance of Adoration” and “The Dance of Gifts.”

Leave it to Koza to save the best for last. The African “Betelehemu” featured percussion by members of the ensemble and a smiling, engrossed and enthralled ensemble that delighted.

Lastly, we were treated to the world premiere of a setting of Silent Night by Camerata soprano Julia Turner. The piece was beautiful, charming and worthy. There is nothing like taking pride in your “family”.

Soapbox: I would like to say a word about John Koza.  Koza is known for bringing to his audiences a mix of traditional and rarely performed pieces as well as introducing composers you have never heard of and music you won’t soon forget. That is what the audiences see and hear. What they don’t see is the amount of hours spent in seeking out and selecting music; in studying the scores and preparing for and running rehearsals. Most importantly, he inspires his singers to put in the time and make music that you will cherish. Art conceals Art. Well done, Maestro.

End

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the greater Monterey Peninsula for over thirty years.

There’s a new vocal ensemble in town, ladies and gentlemen, and it is called Cantus Chamber Singers Monterey. Formed in 2007, this ensemble of twelve singers has been steadily gaining momentum and audience approval through its variety of performance styles, clarity of sound and solid ensemble balance and blend.

The Cantus performance on Thursday, January 28, at Colton Hall was entitled “An American Experience.” The singers under the direction of Robert Ramon presented songs from American composers and arrangers with 19 selections from traditional, to spirituals, to folk songs, to jazz. It was a fine range of styles and, although the vast majority of the songs were on the slower side, they were performed with sensitivity and fine intent.

It is also worth mentioning that this ensemble is not settling for easy tonalities and simple arrangements even in their more traditional songs. There was plenty of strong musicianship shown as they tackled difficult, close harmonies and tangled rhythmic textures.

Rather than critique each of the pieces performed (although my favorites of the evening were “Steal Away,” “Dog Tick,”  “Fever” and the finale, “America the Beautiful”), what needs to be said is that these singers possess the makings of a first-rate small choral ensemble which can handle the repertoire slated for such a group. It is sorely needed in our area and you should keep track of its calendar.

SOAPBOX:  Check this out: the proceeds from the Cantus Chamber Singers Monterey’s concerts go toward furthering choral music on the Monterey Peninsula and Salinas community through charitable grants to local programs. They sing so that others can sing!

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the greater Monterey Peninsula for over thirty years.

End

The Camerata Singers, under the solid conducting and leadership of John Koza, presented yet another fine concert to start off the Christmas season. With a running theme centered on “A Spotless Rose,” the grace of the Virgin Mary was compared and contrasted by offering musical settings on that theme and, often, several settings of the same text. It was interesting and satisfying to hear how different composers from different eras and from many different countries treated the same message. The program should have included an atlas as we heard music from England (Joubert, Holst, Howells and Britten), Germany (Praetorius, Berger), Sweden (Jalkeus), Norway (Kverno), Russia (Stravinsky), Estonia (Part), Spain (Guerrero, de Victoria), Hungary (Kodaly) and Iceland (Sigurbjornsson) all with a little Dutch (Bremer) throw in. There was no “Jingle Bells” here!

It would be difficult to say something about all twenty-two pieces. They were, succinctly put, well presented and well sculpted by this dedicated ensemble. Two settings of “Lo, How a Rose E’er Blooming” proved to set the standard for the evening. First, we heard the traditional setting by Michael Praetorius (in German) followed by a beautifully sung, tender and sweet rendering written by Matthew Culloton. The third setting, entitled “A Spotless Rose,” was by Herbert Howells and included a touching and well performed solo by bass Michael Russell.

The ensemble not only sang well and delivered real musical moments throughout the evening, but they handled very difficult music with seeming ease. The liveliest pieces were the two Spanish selections by Francisco Guerrero (Virgen santa and Lauda mater ecclesia) which included difficult rhythmic patterns at a fast pace. Another exciting piece was the short and rapid-fire Bogoroditse Devo by Russian Arvo Part.

Koza is never one to shy away from challenging his singers with music that is difficult and rewarding, both for performers and for the audience. In “Glory Be to God on High,” by Jean Berger the challenge was met.

It might have been better to start the evening with the two O magnum mysterium settings by de Victoria and David Childs, since these pieces not only allowed the singers to really sing out, but also seemed to settle the ensemble and allow the audience to hear their solid, full sound. The other three pieces (“Prepare the Way” and two settings of “There is no rose”) were sweet to hear and well performed, although they were slow and restrained.

At any rate, kudos to Koza and the Camerata Singers for the “rose” they are!

The concerts will be repeated on Saturday, December 12, at 8 pm, and on Sunday, December 13, at 3 pm at the First United Methodist Church in Pacific Grove.

SOAPBOX:  Audience members of the world: in this day of watching and listening to whatever you want in the privacy of your home, please remember that a concert is a concert (and this one was in a church)! Some decorum should be reintroduced for you “young-uns”. Please refrain from yelling out the conductor’s name with a giant “whoop, whoop” at the end. The audience members are there to hear music/art and the performers are there to make music/art. You can “whoop” all you want at home.

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the greater Monterey Peninsula for over thirty years.

End

It wasn’t actually “Haydn’s Greatest Hits,”  but it was a great hit nevertheless. Bruno Weil and the Festival Orchestra were at their elegant best, and the Chorale, aided by the Youth Chorus, was flawless, once again under the master work of Andrew Megill and John Koza. The evening was a tasteful balance of beautiful music that was both serious and fun, entertaining educational enlightenment supplied by David Gordon’s mini-life history of Haydn (with snippets from Haydn’s own letters) plus a concert stage full of the regulars and the next generation of performers.

The audience was invited to learn about the real “Papa” Haydn through his music and letters via a narrative written and shared by David Gordon. Included are fine moments of insight into Haydn’s practical joking side and deeply religious side. There was plenty of Sturm und Drang and text-painting in Der Sturm; velvety strains from Soprano Kendra Colton in the Adagio from Salve Regina; and marvelous choral sound in movements from “The Seasons” and the Gloria from Missa St. Joannis de Deo. The orchestra was splendid in movements from Symphonies 88, 60, 94 (The “Surprise” Symphony). Entertaining, too, was the Symphony 45 (“The Farewell”) at the end of the first half. Luckily, Sanford Sylvan came along just in time to sing “The Farmer Hastens Joyfully” from “The Seasons.” It was great programming.

The treat of the evening was the Trio No.39 for Violin, Cello and Pianoforte in G Major (Poco adagio, cantabile) played by Elizabeth Wallfisch, Allen Whear and David Breitman, respectfully. This trio of musicians made all of the frustrations of the day fade. It was a stunning movement exquisitely played.

As I commented in an earlier review, I am most amazed at the excellent balance, not only between the Festival Orchestra and the Chorale and soloist, but also amongst the sections of the orchestra itself. The string section was spectacular in the Serenade as it made eight instruments sound as one, so special kudos to Maestro Weil.

If you have children old enough to appreciate what a Bach Festival concert has to offer, this would be a fine program for them to see and hear. It is upbeat, beautiful, always engaging and they will see young people, yes, YOUNG people involved in the arts.

SOAPBOX: It is wise for any arts organization to support, encourage and mentor young people. The Carmel Bach Festival is doing this with its program for the Young Chorus and Young Musicians. Actually, they should both be called Young Musicians and then be separated as Young Singers and Young Instrumentalists, since singers are musicians, too. Would you like to argue the point with any of the current soloists or Master Class participants? At any rate, we owe you our thanks for reaching out and being the catalyst helping to secure the future of classical music.

One last thing — bravo to the sound and lighting technicians and to the stage crew for its contribution to a seamless evening.

End

Reg Huston has appeared as concert soloist and has performed leading roles in opera and musical theater throughout the United States and Europe for over thirty years.

The Carmel Bach Festival’s Sunday afternoon concert featuring movements from Bach’s Christmas Oratorio and works by Mendelssohn and Brahms will be difficult for me to review. Let me start with the good things: Mendelssohn and Brahms. The performances of Psalm 42 in F major, Op. 42 by Mendelssohn and Nänie, Op. 82 by Brahms were a joy to hear.

These composers have created some of the finest large choral works ever written. Brahms, especially, was capable of writing music that would roll over you with wave upon wave of power and then mix in moments of lyrical, heavenly softness that would enfold you with delicate, sublime beauty. There is something about the human voice (or an ensemble of voices) that touches each of us in a unique and personal way.

Once again, the Festival Orchestra, Chorale, Chorus and soloists gave us something to write home about. The Chorale and Chorus, under the fine direction of Andrew Megill, were well up to the task of pulling all of the emotion out of both pieces.

In Psalm 42, soprano Kendra Colton sang with beautiful phrasing and great sensitivity in her lovely solo Meine Tränen sind meine Speise Tag und Nacht. She was joined very aptly by a quartet of men (Steven Caldicott Wilson, David Vanderwal, Tim Krol and Sumner Thompson) in the quintet Der Herr hat des Tages verheißen seine Güte. But it was the entire ensemble that brought to life the majesty of Mendelssohn’s work as they enraptured the audience with beautiful singing.

Likewise, the Brahms Nänie (a funeral or mourning song) was superbly executed. This work is not often performed due to its difficulty. Bravo to these singers for a wonderful, tasteful and sympathetic performance. The music written in 1881 is set to the poem of the same name by Schiller and was composed in memory of Brahms’ friend, German painter, Anselm Feuerbach, who died in 1880. This is a powerful piece and was the highlight of the afternoon.

I am sorry to say that the three sections of Bach’s Christmas Oratorio that made up the first half of the program were difficult to sit through. That is not to say they were not well performed, for they were. The chorus, orchestra and soloists were wonderful. The orchestra, in particular the solo sections by the violin, trumpet, bassoon and duo oboes, were fantastic. The vocal soloists (Kendra Colton, Soprano; Sally-Anne Russell, mezzo-soprano; Alan Bennett, tenor; and Sanford Sylvan, bass) were splendid. I particularly enjoyed the timbre of Ms. Russell’s lush mezzo. The chorus did just what it should do. However, the problem was with the tempos. They were slow, oh, so slow and one after another. The guy next to me fell asleep during the third movement of the first section (more on that later), and he REALLY wanted to hear the piece, or so he told me before the concert. You could see the performers on stage were pretty well “oozed” out about half way through the second section and so was the audience.  The air in the concert hall was filled with dreams of “Gads, why did I eat lunch” or “Oh, my, why didn’t I eat lunch”.  No one knew quite when to applaud. No one was awake.  Yet, the second half of the concert was worth the wait!

SOAPBOX: Let’s talk about the guy who fell asleep. Please, audience members, if you think you are going to fall asleep, or just don’t want to come (or are coming for some reason other than to listen to the music), just stay home. It is so rude to have someone next to you with his head bobbing up and down, body flinching, nose a-snoring, trying to look “cool.” Tell your wife or husband that you just don’t want to go because you are too tired and let the rest of us enjoy the performance. Sometime, perhaps, I will come to your house during the Super Bowl to sleep and snore on the sofa in your TV room, OK?

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the United States and Europe for over thirty years.

It goes without saying that the Carmel Bach Festival enjoys a reputation for first-rate programs and performances. On Friday evening, Haydn’s Creation in Carmel’s Sunset Center Theater continued that legacy with a superb, world-class presentation.

Praises must be showered upon Maestro Weil and the Carmel Bach Festival for bringing together an orchestra of such high quality, a chorus on par with any in the world and a trio of soloists well matched in their duets and trios, as well as superlative in their own solo moments. When reviewing any concert, one normally keeps pen in hand in order to make notes (to jar the memory when later sitting down to write). In this case, after the initial movement, I needed only to sit back and enjoy the concert, for the memory of this evening would remain with me for a long time to come.

For example: I don’t believe I have ever been to a concert where the balance between orchestra, chorus and soloists was so even and so consistent throughout. Maestro Weil truly created a recording-level quality live in the concert hall. Since the blending of each musical ingredient made a feast for the ears, I think it is safe to describe Maestro Weil as a master chef. The orchestra was never overpowering, but rather always sensitive and beautifully controlled with lovely solo playing — with special mention here of the flute and clarinet obbligatos. The tone painting, which occurs so often throughout this work by way of depicting storms or the mayhem of the creation itself, as well as many individual animals or the “feelings” of the sun and/or moon, was beautifully depicted. True leadership was shown by concertmaster Elizabeth Wallfisch through her impeccable musicianship and artistic mastery. Harpsichordist Andrew Arthur and cellist Allen Whear were fabulous during the accompanied recitatives.

The chorus was as professional as you could ever possibly hope for, often soaring and displaying a high level of artistry rarely heard in ensemble singing — special Kudos are deserved by Andrew Megill for his expert preparation.

The soloists (Kendra Colton, soprano; Alan Bennett, tenor; and Sanford Sylvan, bass) were perfection personified. Ms. Colton, refined and eloquent and singing especially beautifully on this occasion, was well matched by her fellow soloists, and her duet with Sanford Sylvan was one of the highlights of the evening. Tenor Bennett,  singing splendidly and with great sensitivity (especially when describing the moonrise) displayed a lovely, sweet and pleasing timbre that was never pinched or pushed. However, my highest praise still goes to bass Sanford Sylvan, who was simply remarkable. He projected a phenomenal array of colors, sonorous low notes and an exquisite ability in his high register that would be the envy of any tenor in the world.

SOAPBOX: The following may sound odd for a review, but often in concert presentations, especially oratorios, one gets the feeling that, frankly, the orchestra would rather not be there. Make no mistake, if so, the audience can read it in their eyes and faces. THIS orchestra, however, really looked as though its members were excited by being a part of this great performance and, therefore, “created” (if you will) an atmosphere that helped light up the hall. You could see the pride in their faces when the audience erupted into a well-deserved standing ovation. They were pleased with their performance and rightfully so, for as they looked at the audience and smiled, you could tell that to them it wasn’t just another “gig.” I will assume that this predisposition towards pride (and the showing of pride) comes from the podium so, once again, thank you Maestro Weil.

End

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the United States and Europe for over thirty years.

It’s nice to go to a concert and know ahead of time that you will not be disappointed. This is the continuing legacy that the Camerata Singers, led by John Koza, has built for itself since its inception in 1980 (then under the direction of its founder Dr. Vahe Aslanian). I was talking to one of the ensemble members after the concert and told him how good it was to see him up on the risers year after year. I asked him how long he had been singing with Camerata and he replied, “28 years”. Now THAT is commitment!

Commitment is what you find as the cornerstone in the Camerata Singers’ concerts. There is commitment from Koza, to be sure, as he finds interesting piece after piece that is new to the audience and challenging to his colleagues. There is commitment to the music and text by each voice section to convey what the music has to offer and to rise to the challenge that Koza has set before them. They know why they are there. Friday’s concert at St. Paul’s Episcopal Church in Salinas (entitled “Words to God’s Music”) was often very moving under Koza’s skillful, controlled and clear direction.

The evening’s mood was set with a lovely opening piece: O Send Out the Light (by Schuldt). The chorus’ sweet blend was perfect for this piece which served as an invitation to sit back, close your eyes and let the music enfold you. Next was Sing and Ponder (by Fleming) which incorporated the plainsong Pange Lingua and chorale melody Jesu Kreuze, Leiden und Pein. Its high level of difficulty was only a prelude to an impressive program of demanding and commanding literature which included the following Prayers of Kierkegaard by Nystedt. The poems were beautiful (especially numbers 3 and 5) and the music allowed each of the four sections of the ensemble to shine (with fine soli by Tonya Legaspi and Cathy Blake). My “hat is off’ to these fearless singers for being able to negotiate this very difficult music and to Nystedt for giving us some exquisite musical moments. As difficult as the Nystedt piece was, however, we were then treated to Randall Thompson’s Antiphon. Is there another ensemble within miles of here with the will and talent to tackle such difficulty with such virtuosity? Big “Koza Kudos” for pulling off these works! I give more “Koza Kudos” for pairing the following two fabulous pieces, Eli, Eli! (by Deak-Bardos) and Alleluia (by Martinaitis) for what proved to be my favorites of the evening. The Eli, Eli! presented all of Christ’s torture on the cross with agonizing reality and heart-wrenching feeling. Then, we were resurrected, if you will, with the joy of the Alleluia (and Nancy Miccoli’s lovely solo). After all of this emotion, Koza brought back the first strains of O Send Out the Light to end the first half of the concert. What a great programming insight!

The second half of the program was also well performed. We were treated to Justorum animae and Beati quorum via both by Stanford. The excellent phrasing in these pieces set us up, in a sense, for another tour de force in Ascendit Deus by Gallus. This was yet another selection of extreme difficulty which the Camerata Singers handled with deftness and security. The following three selections (Ye children who do serve the Lord from the Scottish Psalter, Beatitudes by Pfautsch and Pilgrim’s Hymn by Paulus) were also of high quality but seemed tame compared to the other fireworks of the evening.

More “Koza Kudos” came when he ended his “Words to God’s Music” in a fitting way with a stunning Steal Away (arr. by Jennings) that was absolutely beautiful and was adorned by a sweet, sensitive tenor solo by Robert Ramon and a thrilling, strong and powerful bass solo by Michael Russell. The evening ended with a robust and exciting rendering of Rev. James Cleveland’s May the Lord God Bless You Real Good (arr. by Walker).

SOAPBOX: Hey, everybody: do something good for yourself and go hear “Words to God Music” at the First United Methodist Church in Pacific Grove on Sunday, May 17 at 3 pm. Your soul will thank you for it!

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the greater Monterey Peninsula for over thirty years.

Since 1981, Sal Ferrantelli’s I Cantori di Carmel has provided Monterey County with superlative choral concerts that have filled our lives with season after season of beautiful and exciting music. Twenty-seven years is a long time to do anything, really, and our thanks go out to you, Dr. Ferrentelli, and to all of your singers, instrumentalists and support staff for all of the richness you have given us. Sunday’s concert at the First United Methodist Church in Pacific Grove provided some fine moments. As Dr. Ferrantelli shook the hand of each of his singers as they entered the sanctuary to take their place on the risers, you had the feeling that you were a welcomed guest.

Ferrantelli scheduled a varied program in the first half that included works grouped from the Renaissance and Baroque, the Romantic and Contemporary and, then, three Spirituals. The second half was the Requiem in D minor by Anton Bruckner written when he was 25, according to the program notes. Because of the number of separate compositions, there will not be room here to comment on each offering. Rather, let me say the following:

The Renaissance and Baroque works (Lotti’s Adoramus Te, Weelkes’ Hark, All Ye Lovely Saints Above, Gibbons’ The Silver Swan and Le Jeune’s Revecy Venir du Printemps) were performed with a lovely balance and sensitivity to the texts. Although diction, at times, could have been improved, the over all poignancy of the songs (especially The Silver Swan) was well presented.

The Romantic songs (Der Abend and numbers 1and 7 from the Zigeuner Lieder by Brahms, Die Nachtigall by Mendelssohn), the Contemporary pieces (William Zeitler’s The Song of Amergin and Rebekah Griffin Greene’s setting of Psalm 121) were performed very admirably. I Cantori really started to get into a groove with Der Abend. Their responsiveness to Dr. Ferrentelli’s sensitive phrasing was lovely. It was a treat to hear from William Zeitler again as he provided a very lively, rhythmic and spirited work accompanied by David Brewer on the bodhran (an Irish drum) and finger cymbals.  It was clear the ensemble really enjoyed performing this piece. Then, we heard from Rebekah Griffin Greene who grew up on the Monterey Peninsula and is another local talent who deserves our attention and support. Her Psalm 121 was often very moving. I, personally, would like to hear more of it – that is, I feel the musical ideas were worthy of expanding into a larger work. It ended too soon.

Back to David Brewer for a moment: as the ensemble readies itself for an Ireland and Wales tour, Mr. Brewer was asked to add some flavor to the evening’s selections and did so by providing a solo moment on the Irish Uilleann pipes.  Entitled “March of the King of Laoise,” Brewer showed a great flair and versatility on the instrument. He then went on to accompany the ensemble on Aoibhneas Eilis Ni Cheallaigh (a traditional Irish slip jig). Again, the ensemble had fun.

The first half ended with three spirituals, and who doesn’t like spirituals! We were treated to the incomparable Jester Hairston’s Dis Ol’ Hammer, plus Sometimes I Feel (arranged by Parker and Shaw, hard to beat) and Daniel, Daniel, Servant of the Lord, (arranged by Moore). What can I say? A good time was had by all!

The second half was dedicated to the Bruckner Requiem in D minor with soloists Katherine Edison, soprano, Linda Purdy, mezzo soprano, Sean Boulware, tenor and Bob Bogardus, baritone. Although there is not a lot of singing for the soloists, all four handled themselves well and negotiated some rather difficult passages. The first half of the piece, frankly, left me unmoved, not because of I Cantori’s rendition, but because I didn’t feel Bruckner’s music underscored the text. I couldn’t follow it. It wasn’t until the Sanctus and subsequent movements through to the end of the work that the music actually reflected the text in a compelling way. This piece was written when Bruckner was twenty-five years old and before he had experienced the real musical influences in his life. Of course, he went on to compose some of the most glorious music ever conceived.

SOAPBOX: Sal Ferrentelli has been the heart and soul, the leader and fire behind I Cantori since its inception. Just keep your eyes on Sal when he conducts and you know exactly what to do. May he forever reign as the guiding light and inspiration for this treasured ensemble!

Reg Huston has been a concert soloist and has performed leading roles in opera and musical theater throughout the greater Monterey Peninsula for over thirty years.