by Daniel Hathaway
Following a series of sold-out concerts at Tanglewood and in England (London and Aldeburgh) and Italy, Cleveland’s baroque orchestra Apollo’s Fire is busy putting the finishing touches on the eight programs they are planning around the area this season. We reached founder and artistic director Jeannette Sorrell to chat about last summer’s experiences and her plans for the season to come.
I began by asking about Apollo’s Fire’s debut at the Berkshire Music Center at Tanglewood in Lenox, Massachusetts. “It was really fun,” Sorrell said. “We had no idea that we were going to be sold out at Tanglewood. It was really a personal homecoming because I had studied in the conducting class there back in 1989 and I have such moving memories of that summer working with Leonard Bernstein and Roger Norrington. [Read more…]
The challenge for any group that takes on The Four Seasons is to “make it new,” as the poet Ezra Pound enjoined his fellow modernists. Performed and recorded time and again, Vivaldi’s most famous pieces are in perpetual danger of being played (and heard) as baroque elevator music. Apollo’s Fire, with soloist Olivier Brault, met the challenge head-on in a dramatic, fresh interpretation of these Venetian masterpieces. 
If you think packing for a plane trip is a challenge, here’s what Rex Benincasa has to take through the security checkpoint. “I’m bringing a low tension tabor, a darbuka, a frame drum from Morocco called the Alun — which is a Berber instrument from the Atlas Mountains — an Arabic tambourine or riq, a North African or Egyptian tambourine, an assortment of ankle bells, camel bells, clamshell bells, Indian brass bells, castanets, a classical tambourine, a triangle that’s made out of a drill used to drill into stone, and an assortment of little shakers, claves and maracas,” he said via cell phone, having just buckled himself in for the last leg of his flight from New York to Cleveland. “Homeland Security used to tear everything apart but now they just swipe me for explosives and let me slide.”
Apollo’s Fire’s “Fireside Concerts” this season gather audiences around the hypothetical hearth of the Bach family in Leipzig (before moving on to Zimmermann’s Coffee House). Music by Johann Christian (1735-1782) Wilhelm Friedmann (1710-1784) and Papa Bach himself feature the talented members of the ensemble’s Young Artist Apprentice Program performing alongside AF regulars, with a special appearance by three even younger members of Apollo’s Musettes. 
When you’re taking the risk of performing Handel’s most celebrated oratorio from end to end, you need to field a quartet of soloists with alluring personalities, bring together a stellar chorus and orchestra, and be able to count on your own fine sense of pacing — otherwise this two-and-a-half hour work could become tedious soon after the “Hallelujah” chorus. Jeannette Sorrell and Apollo’s Fire had all of these elements securely in place on Saturday night at First Baptist Church in Shaker Heights. Its version of Messiah — presented with a sense of theater, as Handel intended it to be — scintillated, charmed and inspired the large audience from Overture to “Amen.”