Perhaps influenced by the excellence that marks their orientation mirror opposites, Vox Femina, GMCLA have raised their performance quality immeasurably since last heard by these ears three years ago. No small part of that success must be awarded to the Chorus’s Interim Artistic Director, Dr. Dominic Gregorio – a Canadian conductor with immense personal gravitas and superb musical knowledge that exudes confidence mirrored by his choristers. What a shame he will not be the Chorus’s permanent musical leader.  Finding one his equal will not be an easy task. In his farewell speech, Mr. Gregorio alluded to the “ups and downs” of his interim year, surely an insider reference that needed no mention. His artistry spoke much louder.

To those in the audience unaware of inside intrigue, any “downs” do not matter at all. The music was excellent, finely prepared, and well sung. Clean entrances and cutoffs are an iffy matter in a chorus so large, but it was in the phrase shaping and beautiful pianissimos that impressed most. In a sea-change from the past eight years, the Chorus sang virtually every note on pitch. It mattered greatly and that achievement was the keystone improvement. One can only hope that his successor will continue the high standards clearly established.

The concert was entitled “Sure on this Shining Night”, a title borrowed from the second in a medley of five songs entitled “Golden Light” that began with the beautifully sung Chesnokovian Spaséñiye Sodélal and that continued with contributions by current favorites Morten Lauridsen, Eric Whitacre and Tom Brown (arranged by Gary Holt). Particularly effective was the linking of Brown-Holt’s “Jonathan Wesley Oliver, Jr.” and Lauridsen’s familiar “Dirait-on.” If there was a mood, it was dreamy, slow, mellifluous harmonies that were favored by Maestro Gregorio.

A section entitled “Men in Opera” featured soloist John Musselman in “All’erta! All’erta!” from “Il Trovatore” of Giuseppe Verdi, Jerry Cordova in “Fra poco a me ricovero … Oh meschina!” from “Lucia di Lammermoor” by Gaetano Donizetti, a quintet of soloists: Jordan Bell, Bob Crocker, Marisa Leigh Esposito, Nathan Lucas and Carrie St. Louis in “Amore e fede eternal” from “Il Barbiere di Siviglia” by Gioachino Rossini, and concluding with D.J. Pick launching a zonking high D into intermission in “Possente amor mi chiama” from “Rigoletto” by Verdi.

A world premier opened the second half: “The End of It All” by electronic composer John Tejada, a pretty kaleidoscope of glissandoing triads and difficult rhythmic (think seismic) choral involvement that was surely difficult to rehearse, and, without a score in hand, impossible to detect whether successful or not in performance, with the composer appearing at computer and electronica onstage.

What appeared next was big surprise: the debut of a brand new high school chorus carrying the bulky name GMCLA Gay Straight Alliance Youth Choir. As the kids walked onstage, one wondered how they would fare sonically versus the overwhelming numbers of men that preceded them. Not to worry. Not only did the 31 young men and women acquit themselves sonically, but they also matched their elders with multiple-part singing that featured upbeat versions of “Lean on Me”, “Like a Prayer”, “I Wanna Dance With Somebody” and “Just Dance” – all directed by Maestro Gregorio, with arranger Michael Alfera providing amplified vocal rhythms but distracting with his sometimes awkward gyrations. Honorable mention must be given to the many soloists appearing from the GMCLAGSAYC ranks. Perhaps a contest might be held to give this deserving group a catchy handle?

Also worthy of mention were percussionists Matthew Howard and Vimbayi Kaziboni, who contributed some fine work in David Conte’s “Invocation / Dance” and “Baba Yetu” by Christopher Tin and Chris Kiagiri.

A lengthy presentation by the Men’s Chorus honored the life and death of Harvey Milk, his words and suitable music of the day.

The lengthy concert came to a rousing conclusion with two items sung by the men and the kids: Billy Steinberg’s and Tom Kelly’s “True Colors” and Michael Jackson’s “Will You Be There”, both arranged for the ensemble by Matthew Brown.

Next season will feature three guest conductors: Tim Seelig (Dec. 18 & 19 at the Alex Theatre in Glendale); Cristian Grases (March 26 & 27 at the Los Angeles Theatre Center) and Andres Cladera (July 9 & 10 at the Avalon in Hollywood). But don’t forget to follow the career of Dominic Gregorio. You will be able to say, “I knew him when …”

For tickets to GMCLA's 2010-2011 season, call (800)-MEN-SING or visit www.gmcla.org

 

Douglas Neslund is Classical Voice correspondent and a noted voice/choral teacher in Los Angeles.