“I’ll change that!” Cantor David Serkin-Poole calls out, pointing to Isaac Azose during rehearsal on Feb. 2, then getting right back to the music.
Azose nods an affirmation.
“That” which Serkin-Poole is referring to is the accidental mention of God’s name in a passage of liturgical music he’s been singing, and which he’ll need to remember to replace with a similar (but meaningless) word, when the three cantors — Serkin-Poole of Temple B’nai Torah, Azose, hazzan emeritus of Congregation Ezra Bessaroth, and Bradlee Kurland of Herzl-Ner Tamid Conservative Congregation — plus one, Rabbi Simon Benzaquen of Sephardic Bikur Holim, take the stage at the Stroum Jewish Community Center on Sun., Feb. 13.
This is an encore of a performance the three cantors had last spring, but with the addition of Benzaquen and an accompanist, Peter Pundy, who also has the job of keeping these four in line.
“It’s a pleasure to work with such a wide variety of wonderful musicians,” Pundy says, at the same time forcing the stars of the show and its emcee, Rabbi Robert Maslow, to make decisions on what should be simple motions, such as how to instruct the audience to rise.
But right now they’re practicing, and their audience consists of a friend, the sound guy, a journalist, and a couple of JCC employees.
Still, applause is enthusiastic. Last year’s show sold out the house, which was a reason Benzaquen wanted to join in.
“He is a frustrated hazzan,” Azose says of his rabbi friend.
Actually, Benzaquen notes, he actually was a cantor, many years ago when he lived in London. On stage now, he’s clearly having a wonderful time.
“They’re nice people, I like them,” he says of his co-performers, wearing a sly grin.
As the foursome practices a selection, a well-known ending to a daily prayer, Pundy stops the piano and tells them to slow down.
“We get excited,” Serkin-Poole says.
The quartet and Purdy all worked together to build their set list, and while we won’t give away too much about what they’re singing so as not to ruin the surprise, we will say that the audience will hear a departure from each cantor’s native culture.
“We flipped it,” Serkin-Poole says. “Each one should do the opposites.”
Kurland, while rehearsing a Sephardic tune, asks of Azose: “Check on my Ladino.”
Azose waves a finger from the floor as he hears a mistake.
“Beautiful! Beautiful!” Benzaquen calls out once Kurland finishes.
Cantorial music’s golden age passed decades ago, and much of the audience will likely consist of people who remember when many cantors were the stars of the show. More than a few left their posts at synagogues to make records and tour the country to sold-out crowds.
But many others will be there to hear a mix of Jewish and Israeli liturgical and folk music from real professionals — not an event that happens very often in these parts.
On the top of the JCC’s grand piano, Azose points to a flyer for a performance very much like theirs, that featured five cantors from around the Seattle area, in the same venue, nearly 30 years to the day. Only two of those singers, Azose and operatic tenor Melvyn Poll, are still alive today.
Come February 13, you won’t find the cantors in blue jeans, they’ll have their stage exits down, and they’ll be having just as much fun as they were getting ready for the event.
And by the way, you’ll want to request the encore. It’s worth the extra applause.
Backstage with the three cantors (plus one)
