It can be hard to convey a story when singing in a language most of your audience doesn’t speak. But bass-baritone Christopher Gray had no problem in getting his message across last Saturday at The Rectory on Princess Street, for a delighted audience of City Choir donors and special guests.
He introduced his aria from Mozart’s Don Giovanni by explaining that his character was telling a young woman that the lover who had abandoned her, Don Giovanni, was unworthy of her affection – that he had been with hundreds of women in France and Italy, and in Spain, so far, “a thousand and three!” Gray’s captivating rendition in Italian was aided by gestures and facial expressions, and when he got to the punchline – “mille e tre!” – the audience roared.
Clockwise from top left, bass-baritone Christopher Gray, soprano Calista Smith, tenor Rudy Polk, and mezzo-soprano Madison Kavanaugh, accompanied by City Choir keyboard artist Heather Adelsberger, at The Rectory on Princess Street on Saturday, November 7, 2026.
Gray was one of four soloists from the Wolf Trap Opera Studio being featured in Mozart’s Solemn Vespers (K. 339) the following day at National Presbyterian Church to inaugurate the City Choir’s 2026–27 season. The other three soloists also thrilled the Rectory audience with Mozart arias:
· Soprano Calista Smith sang “Padre, germani, addio!” (father, brothers, farewell) from Idomeneo. Her character, a Trojan princess, is torn between her allegiance to her father and brothers, whom the Greeks had defeated, and her love for Prince Idamante, the son of the victorious Greek king (awkward!).
· Mezzo-soprano Madison Kavanaugh sang “Smanie implacabili” (implacable torments) from Così fan tutte. Her character is lamenting being left all alone by her fiancé, who has supposedly been called off to war (but is instead engaged in a plot involving deceit and seduction – this is opera, after all!).
· Tenor Rudy Polk sang “Il mio tesoro” (my treasure) from Don Giovanni. His character implores the listener to reassure his fiancée that he will avenge the murder of her father by an unknown assailant (that turns out to be – spoiler alert – none other than Don Giovanni!).
In the absence of a full orchestra, the City Choir’s brilliant keyboard artist, Heather Adelsberger, supported all four soloists with sensitive and expressive piano accompaniment.
San Francisco–based composer Tarik O’Regan was there as well, in town for the City Choir’s East Coast premiere of his work Critical Mass the next day. At the buffet reception before the musical offerings, he talked with some of the other attendees about his career, and how moving to the U.S. boosted his reputation in his native Britain (perhaps like American jazz greats from the last century gained credibility by pursuing their careers in Europe).
Attendees also enjoyed the ever-gracious company of our hosts, Neeta Helms and Johan van Zyl of Classical Movements (which, one might note, also presents a wide-ranging series of live concerts at The Rectory and its “Secret Garden”).
Although everyone had a delightful evening on Saturday, it was not to be a late night – there was a big day ahead on Sunday!
Clockwise from top left, composer Tarik O’Regan with City Choir singers Ashley and David Boulware-Kelley (David is himself a published composer); City Choir Artistic Director Erin Freeman in discussion with O’Regan; a concert at The Rectory’s “Secret Garden”; Classical Movements founder and president Neeta Helms with City Choir singer Cindy Speas (and Frédéric Chopin!).