Bobby McFerrin

The show opened with a couple dozen or so sprightly young women taking the stage, dressed in traditional eastern European folk garb. Their conductor, also in costume, raised his hands, signaled the opening downbeat, and out came the sound of serenity. Their voices blended into a rich harmony that recalled the music of cloisters and other forms of early European classical music. The ensemble was Jitro, a celebrated girls choir hailing from the Czech Republic. Their utterly charming performance was the start to A World of Voices, a colorful and joyous two-and-a-half hour concert mounted by the Kennedy Center, which showcased the power of the human voice through some of the finest a cappella ensembles from around the world.

The evening's host and main attraction was the great Bobby McFerrin. Those who know nothing of McFerrin outside of the campy "Don't Worry Be Happy" are missing out on one of this country's artistic treasures. With a voice that would put any "American Idol" to shame, McFerrin transcends genres, having performed and recorded with artists as varied as Yo-Yo Ma and Chick Corea, breaks barriers with his choral ensembles, and has even become a respected orchestral conductor.

Last night, his body was his instrument and the audience was his orchestra as he used both to accompany his prodigious vocal improvisations and comedic delivery. Dressed in simple jeans and a black dashiki, and rarely resorting to words, McFerrin used sheer charisma and the seductiveness of his voice to connect with everyone in the sold out concert hall. At one point, he was using the stage as if it was the giant piano from that scene in Big, only, there were no keys on stage and the pitches were coming from the audience. You just had to be there.

After McFerrin's initial interlude, the program continued with La Capilla Virreinal de la Nueva Espaňa, a group comprised of four female and three male singers, which specializes in Mexican and Ibero-American colonial music. Their sound, with lyrics in Spanish, was rooted firmly in the western classical tradition. The women, in particular, had arresting voices and those who do not understand the role of the conductor need only see the expressiveness that director Aurelio Tello brought out of this ensemble. That said, the last group of the first half, Chanticleer, did not use a conductor and was the first ensemble to interact with the audience. The group showcased its versatility by performing pieces by Gabrielli, Mahler, and Gershwin, and then closing with the spiritual, "O' Jerusalem in the Morning", the latter of which drew many spectators to their feet. Especially impressive throughout was countertenor Cortez Mitchell.

Of course, any a cappella festival set in the District would be incomplete without locals Sweet Honey in the Rock, who opened the second set. Sporting the most vivid costumes of the evening, the ladies performed a soulful four-song set that showcased their deep knowledge of the African diaspora. Notable highlights were the gospel, "Standing by the Bedside of a Neighbor" and "Danko", a percussion filled chant that is an African prayer coming from a woman who wants to bear a child.

Le Mystère des Voix Bulgares offered the most unique sounds of the night. The 26 ladies that make up the group performed a selection of Bulgarian folk music. With its eastern tonalities, dissonant harmonies, and odd meters, this ensemble was the most rewarding listen of the evening, and also the most challenging. Predictably, this led to a less enthusiastic reception from the audience, but even McFerrin at one point acknowledged that he was incapable of reproducing the choir's angular melodies.

The biggest cheer, as expected, came for the legendary Ladysmith Black Mambazo. Popular in South Africa since the 1960s, the group garnered universal acclaim through their appearance on Paul Simon's Graceland album, from which they performed "Homeless" during their set. Their rich voices, odd vocal effects, and distinctive choreography drew laughs and cheers not only from the audience, but also from other performers who were watching from the wings. After Mambazo's spirited set, the night concluded with a group jam. The hundred singers all came out and McFerrin lead them in an improvised choral performance that is indescribable, but totally memorable, and a fitting end to the night.