Jeff Wilson
Enquirer contributor

Performing with the Cincinnati Pops on Saturday were three singers so talented and versatile the most difficult part of arranging their programs may revolve around deciding what not to play.

As artists, Three Mo' Tenors have impeccable reputations; as entertainers they can charm an audience in less time than it takes to cross a stage; and as professionals they must be tireless, if two Cincinnati appearances within months indicate their touring pace.

The move from Music Hall to Riverbend suggests the hard work is paying off. All the good seats were taken in the pavilion, and the lawn also had a sizeable crowd that came to hear a celebration of the African-American vocal tradition by veterans of the opera world and Broadway musicals.

First, conductor John Morris Russell led the Pops Orchestra through a half-hour of compositions in the American grain, with works by Antonin Dvorak bookending songs by Joplin, Copland, Gershwin and Ellington.

Three Mo' Tenors got the hard part out of the way early in their hour-long set, trading leads on "La Donna e Mobile" from Verdi's Rigoletto before delving into challenging solo performances of works by Puccini, Donizetti and Scarlatti.

After the singers reunited, a medley of spirituals preceded a journey to Broadway that began with "Let the Good Times Roll" from Five Guys Named Moe.

Written for the musical Ragtime, "Make Them Hear You" soon took on a life of its own, and it has evolved into an anthem for the Three Tenors. It seemed fitting that Rod Dixon, whose voice has the power of a small cannon, was picked to sing it.

If there is a leader of Three Mo' Tenors, it would have to be Thomas Young. During the group performances, Young stood between the other two tenors and was clearly the elder statesman. Far from gathering moss, he recently performed in operas by Anthony Davis, a major innovator in jazz and classical music.

It was fascinating to hear someone with Young's range, talent and experience breathe new life into Stephen Sondheim's "Send in the Clowns." The rapport he achieved with pianist Alvin Waddles bordered on telepathic as they navigated sudden tempo changes and dramatic pauses while using understatement and restraint.

A tribute to Motown featured "Love Train," "Oh Girl," Betcha By Golly Wow," and "Midnight Train to Georgia."

The performance ended with a version of "America the Beautiful" that brought the crowd to its feet.