All kidding aside: Anthony Kearns was brilliant Saturday, April 26. I believe it was one of his finest performances and was honored to have been in attendance. He once again raised the bar!

The Centrum is a lovely venue in an up-scale suburb of Houston called Spring, Texas. It is a community center which is truly a center for the community. It contains a library, church, social hall, and a beautiful and intimate concert venue.

To facilitate all those wishing to attend, extra chairs were added. This was a capacity crowd of enthusiastic people anxiously awaiting the entrance of the tenor; the tenor didn’t disappoint.

Anthony made a grand entrance and with much aplomb pulled out from his pocket his little song list. He turned to the audience and said “Here’s the list, it’s very important, I’ll put it right here!” And he grandly placed in on the piano, giving it a little pat.

There was much more interaction with his audience this evening, involving them and chatting as if with old friends, introducing his songs so we could all follow along. A very relaxed atmosphere was created from the beginning, one in which the performer felt the appreciation of his audience from the outset and was determined to be the very best that he could be.

Anthony’s performance this time around included many new pieces, some resurrected favorites, and a few Kearns’ standards. It was a well-chosen repertoire, filled with very pleasing selections from start to finish. There is always great variety of music at Kearns Solo Concerts, it is what makes them so unique and always enjoyable.

His classical pieces included “My Lovely Celia,” “Vienna Mine,” “Catari,” “Mattinata,” “Come Back to Sorrento,” and “La Donna e Mobile,” perhaps the greatest tenor aria ever written, and admittedly one of Anthony's favorites. Since in this reviewer's opinion, the three best in his classical repertoire were included (with perhaps only "Granda" missing): “Catari,” “Vienna Mine,” and “La Donna e Mobile,” I of course was transported. However, it was gratifying to note that the rest of the audience agreed. The applause fairly boomed against the walls for “La Donna...” and at the end of it, our tenor looked as if he’d faint dead away with the effort and had to support himself with the piano. After which he winked, got a laugh, and Patrick began the next selection.

“Catari” was breathtaking, without doubt the best this reviewer has heard by anyone. His voice is well suited to the lamenting and depth of emotion in this wonderful piece, and the audience was generous in its appreciation.

Just before one selection, there was a bit of an interchange between Tenor and Accompanist with much shuffling of music—Kearns said “Ready when you are, big daddy!” and Patrick began playing “Sorrento.” Anthony’s offering up of this standard in the Italian tenor repertoire was stunning. This man’s mastery of the languages presented is becoming superb and he seems quite comfortable segueing between them as needed.

That dear and darling Patrick Healy paid Mr. Kearns the highest of compliments as he introduced “Hills of Home.” He told the audience how he admires Kearns and finds him to be quite unique among singers. Paddy went on to say that he respects Anthony’s work and that working on stage with him “illuminates me. He asks so little of me,” Healy went on, that when he requested a song of his own from Healy’s pen, he felt compelled to comply, even though he hadn't attempted such a thing before. He created in that song something which is felt deeply by the singer and his audience alike. Listening to “Hills of Home” is an experience. It is filled with longing and sadness and pure beauty. Anthony Kearns has found his signature song, thanks to his great friend, Patrick Healy.

While our impish Tenor was awaiting the completion of Healy's story of "Hills of Home," he stood quietly and respectfully behind Patrick. Well, for the most part! At one point he dashed to the piano keyboard and poised his hands as if to begin playing, turning to the audience for encouragement! All he got were titters of laughter and he finally gave up on the idea and returned to his place behind Patrick.

For our other Irish selections, may we suggest: “The Gentle Maiden,” “Terence’s Farewell,” “Palatine’s Daughter” (an audience favorite!), and the Tenor’s girl medley: “Eileen Og” and “The Darlin’ Girl from Clare.” “Love Thee Dearest” brought a sigh with the first note and a cheer at its end! Included were Anthony’s tribute to moms with “Mother Machree” and to his homeland with “Mother Ireland.”

He went “Trottin’ to the Fair” (or perhaps "Ridin' to the Range"?) in true Texas fashion, slapping the poor pony’s haunches as he went. He gave a sweet and powerful “Danny Boy,” and "The Star of the County Down" ended the list of Irish numbers.

Some well-chosen new selections were offered up and were very well received. The Canadian song popular with her troops in WWI, “The Little Grey Home of the West,” received a tremendous reception! “If I Help Somebody” is a beautifully sentimental song. “In the Gloaming” was a sweet old piece well suited to the voice and very much Anthony's style of music.

At the end of the concert, after several ovations, when the audience simply wouldn’t let the duo leave (and in truth, it seemed evident that Kearns was enjoying himself and not eager to bid adieu) a gentleman from the balcony shouted “Macushla!” Anthony laughed and replied, “Macushla’s gone to her bed—she’s tired!” He then sang another lovely new piece, “Time to say Goodbye.” It was a beautifully fitting way to end the evening.

He wished us all Safe Home and Goodnight.

This concert was, as all Kearns Solos are, a delight. But it also seemed to look more into the man, as well as the performer. He always gives 100% of his talent, this evening, he gave more of himself and it was gratefully received.