Musical Citizen of the World

International pop and West African music star Angelique Kidjo brought her unique blend of global awareness and musical diversity to Davies Symphony Hall last week in a one-night-stand with the San Francisco Symphony. Performing in the "Summer with the Symphony" series, the singer dubbed "Africa's premier diva" by Time magazine included the first United States performance of "Ife: Three Yoruba Songs" (2013) by Philip Glass, on a lengthy play list that also abundantly showed her incredible range of influences. Her personal philosophy of music as the best weapon for love and peace had the sold-out auditorium positively ecstatic before the night was over.

It was a predictably joyous occasion, initially hampered by a pre-concert traffic jam at Will Call that stretched out the door on Grove and around the corner down Van Ness all the way to Hayes. It made many attendees late for the 7:30 p.m. start. By necessity (and DSH protocol), seating between numbers continued well into the first half of the show, distracting for the audience and nerve-wracking for the hundreds who missed La Kidjo's breathtaking entrance.

After an introductory set by the SFS conducted by Edwin Outwater in selections from Gershwin's "Porgy and Bess," Kidjo entered from stage left in a gorgeous African-patterned gown complete with matching traditional head-tie. Starting with her own smoky arrangement of "Summertime," the remarkable citizen of the world launched a concert that ultimately proved her ease with everything from samba to jazz and dance music.

The crowd demographic was every bit as wide-ranging. Hipsters young and old of every color, more than a few elder statesmen and women, plus a great number of LGBT fans joined together in sing-alongs when asked to, and even stood in unison gleefully rocking with the irresistible beat when Kidjo made a tour of the main floor.

The Philip Glass premiere certainly drew a fair number to the Hall on its own, and "Ife: Three Yoruba Songs" ended the concert's first half most impressively for devotees of the genius composer. Still called a minimalist after 50 amazingly prolific years, but more accurately described as a writer of "music with repetitive structures," Glass' richly evocative song cycle written for Kidjo couldn't have proved a better example of both musicians' cosmopolitan philosophies.

Ife was a Yoruba kingdom thought by its people to be where the world was created. Three legends are told in the songs lasting about 20 minutes. The orchestral texture is typically dense, and also just as naturally transparent. The moods range from mysterious to exultant - perfect for Kidjo, and the use of a full symphonic backing adds color and excitement. Individual players and full sections of the orchestra twine around the words and often duet with the singer.

It is gorgeous music that demands a recording. The woman from Benin, by way of Paris and now Brooklyn, has found a way to fuse her message of love with every conceivable kind of music, and a full Western symphony doesn't sound the least bit out of place behind her magnificent voice.

The second half of the program was mostly devoted to African songs, with some French thrown in as well. Still accompanied by Outwater and the SFS, Kidjo was also backed by guitarist Dominic James. His charming and unassuming manner still supplied a strong touch to the overall sound.

There was also some delightful interplay between the singer and the conductor. At one point, after her costume change during intermission, Kidjo took her headwear off to reveal a short blonde natural haircut. She proceeded to tie the red wrap above the equally red face of Edwin Outwater. He was a good sport, and he looked great, to the thunderous approval of the audience.

It was that kind of a night, and it seemed clear that after three decades, Angelique Kidjo's message is still gaining momentum. Her shouts for freedom and universal respect certainly shook the rafters at Davies Hall.