I Go to Rio (from The Boy From Oz) (arr. Ryan O'Connell): Choral Instrumental Pak

Ryan O'Connell's arrangement captures the propulsive energy of the original without requiring extensive instrumentation, making this accessible for groups of different sizes. The syncopated vocal lines sit naturally in mixed and women's voices while the horn parts drive the groove forward, creating a performance that feels both tight and joyful. Programming this gives your concert an immediate lift; audiences recognize the earworm melody instantly, and your singers get to inhabit a genuinely fun, groove-based piece.

The moment the groove hits, you're transported to a sunny, danceable landscape where precision and joy coexist. Syncopated rhythms and propulsive horn lines create forward motion that's nearly impossible to resist, while the memorable melody sits comfortably in the voice. This is music that makes singers smile and audiences move.

Choirs performing pop and jazz repertoire, directors programming concerts that bridge standard repertoire with contemporary popular music, and groups wanting to showcase energetic ensemble singing with a Latin groove. This works for high school through community choirs.

• Lock the syncopation between voices and rhythm section early in rehearsal. Have your rhythm section tap the hi-hat pattern while singers lock into their entrance points; this builds ensemble cohesion from the start.
• Bring out the horn counterlines in the arrangement. They're not accompaniment; they're essential to the character. Brass players should feel permission to shape these phrases with slight rubato.
• Commit to the tempo. This piece thrives on forward momentum. Once you establish the groove, resist the urge to slow down during vocal layering or dynamic shifts.
• Use the recorded accompaniment strategically during early rehearsals to anchor the groove, then gradually reduce dependency so singers own the rhythmic feel.

Place this in the second half of a concert where you've already established your group's musicality; its infectious energy works best when audiences have warmed to your ensemble. It pairs beautifully with other Latin or jazz-inflected pieces, or serves as a high-energy palate cleanser between more introspective selections. Spring or end-of-year concerts benefit especially from this kind of celebratory closer.

• Syncopated rhythm reading and execution
• Latin rhythm feel and groove orientation
• Ensemble synchronization across voice parts and instruments
• Stylistic interpretation of pop and jazz idioms
• Ensemble balance when singing against horn counterlines