The fever and colds that I’ve been waiting for have finally gotten the best of me. Exposed to everyone else’s flu germs for the past two weeks, I knew it was only a matter of time.

My drippy nose was at its worst at Coro Cantabile’s Coro Et Al concert last August 15 at the Philam Theater. But it didn’t stop me from soaking up the delightful musical buffet of 6 choirs rendering three songs each, capped with Coro Cantabile’s impressive new numbers.

Memorable in my opinion were the Elo’i Choir’s Gloria (Rutter) and Carry the Light (only because the children that joined them were so irresistible!), as well as competition-worthy pieces by the Trinity High School group.

Listening to the Wesleyan chorale was a treat to the ears, and the True Vine Singers’ pianist made a rollickin’ bluesy jazz piece work with his deft fingerstyling.

But really the most outstanding performance that night was Coro Cantabile’s rendition of Ezekiel Saw De Wheel. I’ve heard so many negro spirituals–they seem to be a staple for choirs–that they all sound the same. But this gospel number by Coro Cantabile stands out with skillful dynamics performed effortlessly.

It obviously took weeks, months of hard work to prepare such a number, but it was delivered without the strain of work. Beautiful music.

I didn’t hear a choir of 20-30 people assigned different notes; I heard one voice, rising and falling in perfect sync with choirmaster Sharon Abesamis’ baton. It was pure discipline executed with grace.