When I heard that the Vienna Boy's Choir would be performing in this small, remote coastal Oregon town, I thought, "That must be an error!" But it was true. Last Sunday I was privileged to hear these world-class performers in the intimate setting of a small town church that seats about 350.
Concert-goers who had arrived 1 1/2 hours early for good seating were kept back as the Vienna Boys Choir filed out of the church where they had been warming up their world-class voices. Some of the boys were jostling each other and the term "Dumkopf!" was heard. One boy near the end of the line had his thumbs busy twiddling a small electronic device as he walked along. After the whole column had passed, one more boy ran out of the church to catch up. Boys will be boys, and these were first of all boys.
Before they were introduced, we were told that no cameras or recordings were allowed, and to remain in our seats until after the Choir had exited. There were security guards in the foyer. The boys came in, dressed in dark blue sailor suits, ranging in age from 10 to 14. (Being in a wheelchair, I was allowed into the church first, so got a seat right near the front.) Maybe being a portrait artist, I particularly notice faces: their faces were the faces of real boys, each one different, each an individual, the faces of boys you would see on school playgrounds anywhere. I was struck by the variety of nationalities; there were faces that looked Chinese, Japanese, East Indian, perhaps some African blood. Then they opened their sweet mouths and exquisite, angelic voices soared into the high interior of the church. More than once during the performance, my eyes were wet with tears, the beauty of their singing was so profoundly moving.
I wasn't sure what kind of music the Vienna Boy's Choir would perform. I expected mostly hymns and devotional music. Yes there were some of those, evocative of the pure essence of God, but boy was I surprised what else! Selections of music from around the world included Hebrew chants, a native American song originally sung by Geronimo, an Austrian lullaby. Solo singers came forward throughout the performance and the sound of their voices was magnificent; the power and passion of these young but extremely highly trained voices, ringing out into the high vault of the church.
The Choir was conducted by Mr. Florian Schwarz, young at age 36. Mr. Schwarz's skill as a pianist was a treat in itself, as was his playing of classical Spanish guitar to accompany the Choir. On one number the guitar was paired with a hand-drum, skillfully played by one of the boys, for a wild, rousing song of swelling voices.
Mr. Schwarz's introductions of the music had a witty charm that kept the audience in relaxed laughter, a sympathy to the performers. For one number, Herr Schwarz taught the audience to sing the refrain - in Austrian - to a yodeling song. Individual boys singing solo opened their throats and rang out the verses, and the audience yodeled along with the Vienna Boys Choir for every refrain.
The choir came off the dais and spread themselves before the front row of the wide, shallow church, nearly touching the knees of the audience in the front row. As they began to sing, the boys broke apart and began moving individually up the aisles of the church as their voices filled the room, an arm's reach away from their rapt listeners, and wove back and forth across the cross-aisles and the stage in an intricate pattern. If I understood this correctly, twelve separate melodies were being sung each by four boys, so that we heard all twelve melodies at once, as their beautiful voices wove around us. Many people could not resist a standing ovation when the Choir broke for intermission.
After intermission the Choir returned and arranged themselves onstage. Then, a lone boy came down the center aisle, a petite boy of nine or ten, playing a boy-sized blue accordian. He took center stage, his small child's fingers dancing over the keys of the accordian as the Choir broadcast a spirited Austrian folk tune.
When two young soloists stepped forward, one of them sat down ever-so-briefly on the steps of the dais before he stood in his place, a suppressed grin on his face. The soloist next to him - a round-faced boy of about 10 - could hardly prepare himself to sing, his lips were pressed so tightly together (boys being boys), trying not to laugh at some private joke they shared. (I don't think Mr. Schwarz saw that, which was maybe the point.) It was utterly charming. Then they opened their mouths and voices that would melt the soul of a rock came forth into the open air of the church.
Again the Choir performed a set of surprisingly varied pieces, such as a sailors' work song in which the boys stamped their feet in unison to a rolling, rhythmic tune. There were American songs, they sang a set of three Leonard Cohen melodies, including the hauntingly beautiful "Hallelujah." Again, my cheeks coursed with tears at the sheer and utter beauty of their singing. The slow and heartfelt applause of the audience that went on and on showed that many felt the same.
Of course there was a standing ovation, and no one in the audience wanted this once-in-a-lifetime experience to come to an end. After an exhilarating encore, the boys finished up with "Goodnight Sweetheart(s), Goodnight" as they left the church, the crowd still on its feet, clapping for all we were worth.
What an incredible gift to be treated to this world-class performance right here in Brookings, Oregon. (Sponsored by Brookings Harbor Friends of Music. Photo scanned from front of program.)
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