By BRUCE DENNILL
The Mzansi Tenors / Hosted by Richard Cock / Pieter Toerien’s Montecasino Theatre, Fourways, Johannesburg
However many tenors are involved, or where they come from – three or ten or Italians or Greeks – much of the appeal of any acts in this singing sector depends on the combination of two basics: strong, well-trained voices and good choices when it comes to setlists.
Cape Town’s Mzansi Tenors showcase the first facet the moment they come into the theatre, five on each side of the auditorium, singing as they descend the steps to the stage and doing so as opera-trained vocalists should – without the clutter of microphones, allowing the acoustic timbre of the voices to be as exhilarating as the emotional connection aroused by the lyrics and melodies of the songs performed.
The second aspect plays out positively as well, with standards like O Sole Mio, Caruso, Nessun Dorma, Can You Hear The People Sing? and The Prayer nestling alongside originals like Qaqamba Nyama Wam, the latter of which expands the expected palette in an immediately enjoyable way.
Richard Cock has played a kind of mentor role for the group to date, and he appears in this show as a sort of host-cum-narrator, exercising his well-known storytelling talents to link the songs, describe the collective’s journey and introduce guest vocalists Nadine (as a pop star, the only performer other than Cock who uses a microphone, though she holds her own in the encore, when the technology is left in the wings) and soprano Sinesipho Mnyango, who is confident and physically expressive.
The major takeaway from this production is the feel-good joy imbued in the Mzansi Tenors, whose collective presence speaks of humility, a willingness to work (Duane Alexander, perhaps best known as a choreographer, directed this show, and his efforts have borne clear fruit), and rousing natural talent. But there is also technical excellence – not a note is missed (or even close to fudged) throughout the show – and the promise of very much more to come from a group following an exciting but considered career curve.
Every performer both appeals and excels, but keep an eye particularly on the tall, striking Mziwamadoda Nodlayiya, whose voice cuts through even the mesmerising layers created by his colleagues. And be stunned by the volume unamplified vocals can create when combined in carefully structured arrangements – it almost literally knocks you back in your seat.
