Orquesta Ron y Ritmo

They began with a number named for Colombia's most popular recreational drug. "It's called caf?. Coffee," Casal said. It was a slow-drip percussion percolator. The tempo built like a three-cup buzz until the whole room was vibrating.

"Now we're going to play a romantic Cuban song. This is going to be kind of educational," Casal said with a wink. He taught the audience a "Juanita Bonita" chorus.

Casal alternated between conducting the orchestra, singing with a strong tenor and playing masterful violin. He's a natural. They played Tito Puente mamborama. The dancing trio of hot back-up vocalists made it spicy.

ORyR played brazen Bogat? salsa. "Once again, let them improvise!" Casal loudly proclaimed over the music. Youngest member Walschap popped a sensational sax solo. The dance floor was crowded hip to hip. Casal sang some mad Spanish skat, high over the Panamanian moon.

They played a Cuban folk music classic. Casal's violin went up then hung like a shooting star. Princess Anna Marie sang a solo in the song honoring her highness. You can take the girl out of opera, but you can't take opera out of the girl. She had perfect pitch powered by titanium-strength pipes. Noggle's a Toledo, Ohio, export.

ORyR began the second set with an unexpected tune by Ani DiFranco. Wilcox's goodbye kiss was a brass smack. Casal danced like he was in the movies, slapping the heels of his shoes. He wound down with Puente's "Oye Como Va," saving The Deli from spontaneous combustion. "Viva Panama," someone cried. Casal agreed with gusto.