Strength in numbers

THE SANCTUARY CHOIR at Preston Hollow Presbyterian Church is associated with some of the world’s biggest names in choral music: Bob Chilcott, Britain’s “contemporary hero” of the craft; Mack Wilberg of the acclaimed Mormon Tabernacle Choir; and the late Johnny Mann, perhaps best known in Hollywood circles for directing “Alvin and the Chipmunks” and providing the voice of Theodore.

Having performed major works under these and other guest conductors, the PHPC choir must be full of professional singers, right? Not exactly.

“The audition goes something like, ‘Are you breathing?’ ,” says Terry Price, director of music at PHPC. “If someone wants to sing for God, I’m not going to stand in their way.”

The choir comprises volunteer singers with strong choral backgrounds along with those who can barley read music, and they all come together to create a world-class sound. There are 197 members, and about 120-140 of them sing on a typical Sunday morning.

“There’s strength in numbers,” Price says.

So, how does he get such prestigious musicians to come work the PHPC choir? He just asks.

“If they have a chance to do something in a different venue in a different city, they always enjoy that opportunity,” he says. “I’ve never been hesitant to ask.”

And sometimes, the choir goes to them. The choir has toured internationally over the years and next June, about 120 members will travel to the Coventry Cathedral in England to perform a piece written for them by the prominent British composer John Rutter.

While the choir revels in such occasions, its primary role is in Sunday worship services, performing old-fashioned church music. While most congregations move toward more contemporary styles to capture wider audiences, PHPC has seen success in resisting that trend.

“We know our identity, and we’ve stuck with it. Traditional church music goes very well with our style of service.”

And it doesn’t seem to deter younger churchgoers; about 40 percent of the congregants are under 40 years old.

Before Price arrived as music director 16 years ago, Sunday mornings were about the only times you’d see the choir perform. Now, they have three well-attended concerts a year, especially the annual Americana concert held this past June, which had standing room only.

“They have to get here early if they want a seat.”

A tenor’s temple

“I always liked to sing. To me, that was a natural expression.”

Itzhak Zhrebker was a child prodigy, performing his first solo with a symphony orchestra at age 6 in his hometown of Khmelnitsky, Ukraine.

“I always liked to sing,” he says. “To me, that was a natural expression.”

Religious expression, however, wasn’t so easy for a Jewish boy living under Soviet Union rule.

“I had no access to synagogue or Jewish education. I didn’t know anything about Judaism.”

He left Ukraine to pursue a musical career and discover his faith. Today, he serves as cantor at Congregation Shearith Israel, where he leads services in prayer. Since he arrived in 1996, the number of choirs at the temple has grown to include not only the adult choir but also the Ornish youth choir and the popular Kol Rina men’s a cappella group.

Easily compared to the likes of Luciano Pavarotti, Zhrebker has a full operatic voice that he has honed through years of study under other renowned cantors such as Naftali Hershtik and Louis Danto.

Zhrebker received his cantorial education from Ellie Jaffe of the Great Synagogue of Jerusalem. Among other credits, Zhrebker has performed with many operas and symphonies but felt most at home during his six years with the New Israeli Opera.

“To be an observing Jew and build a career as an opera singer, it’s very difficult as most performances are during weekends,” he says.

Zhrebker also is a conductor, composer and arranger, and has recorded albums in multiple languages. His music is integral to Shabbat services and High Holy Days at Congregation Shearith Israel, but how long will the age-old genre of opera music endure with wider, particularly younger audiences? Zhrebker isn’t worried about that; the genre’s foundation is as solid as any other. And when it comes to directing the youth choir, Zhrebker says it’s less about the music and more about helping children deepen their faith and discover their Jewish identity.

“I see it as an educational tool to teach children prayers and to express themselves freely and have a connection to the liturgical music and to their roots,” he says.