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Apollo’s Fire revives the beautiful “O Jerusalem!” (Apr. 10)

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by Stephanie Manning

Every performance of “O Jerusalem! Crossroads of Three Faiths” is guaranteed to be a little different. Not only are there plenty of opportunities for the performers to improvise, but Apollo’s Fire has also made tweaks to the music selections in the years since the first performances.

Even so, “much has changed since I created this program in 2018,” artistic director Jeannette Sorrell acknowledged in the program book and onstage on April 10. Music that brings together Israeli and Palestinian performers feels heavier in 2026, two-and-a-half years after war erupted in the Gaza strip.

The concerts presented this April approached this reality with both seriousness and joy, a blend both true to the spirit of the original program and respectful of the current moment. I heard the Friday performance at the Cleveland Museum of Art’s Gartner Auditorium. The two musical and cultural consultants, Daphna Mor (Jewish) and Ronnie Malley (Arab), worked with Sorrell to add some new repertoire for this revival. [Read more…]

Apollo’s Fire: Dido and Aeneas (Oct. 3)

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by Kevin McLaughlin

Some operas overwhelm us with spectacle, others with sheer length. Purcell’s Dido and Aeneas, first performed in the late 1680s, does neither. Barely an hour long, it holds a world of feeling — new love, dark magic, and nobility in death.

On Friday evening, October 3 at Greystone Hall in Akron, Apollo’s Fire gave the work youthful resonance by returning it to Purcell’s premiere setting, a London boarding school for girls. Jeannette Sorrell’s direction added a Shakespearean pulse — brisk, lively, and human. The performance opened with the chaconne from Purcell’s King Arthur, an elegant and radiant overture that set the evening’s tone.

Sorrell’s newly written prologue replaced Purcell’s lost original and set the scene as a school play that turns suddenly real — a nod to the opera’s first performances by students and to the scale of its story. Her approach emulated the fast-moving style of seventeenth-century English theater, when audiences stood at the players’ feet and tragedy mingled with laughter. [Read more…]

Apollo’s Fire gives a sublime performance of Bach’s Mass in b minor (Apr. 5)

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by Peter Feher

The 2024–2025 season for Apollo’s Fire may be coming to a close, but the group’s performances of J.S. Bach’s Mass in B Minor will continue to resound throughout Northeast Ohio. Just like those listeners who are forever returning to the work for comfort, cogitation, or a glimpse of transcendence, Cleveland’s Baroque orchestra isn’t finished with this all-embracing masterpiece.

On Saturday, April 5, at Trinity Cathedral, the consoling final notes of the “Dona nobis pacem” — Bach’s “vision of peace,” as AF artistic director Jeannette Sorrell has described it — seemed to linger in the stone vaulting long after the music had died away. The effect was a sublime example of the ensemble making the most of the space, the combined period-instrument forces of woodwinds, brass, strings, and organ supporting the uplifting message sung by the chorus.

[Read more…]

Apollo’s Fire: festive, virtuosic Bach (Apr. 26)

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by Peter Feher

Apollo’s Fire resurrected its take on J.S. Bach’s Easter Oratorio over the weekend, returning to this choral masterpiece that the ensemble last presented almost two decades ago.

Performances of the Easter Oratorio don’t exactly abound every year, and the reason is less than straightforward. Staging the work is something of a production, approaching the monumental scale of similar Bach compositions — the Passions, the B-Minor Mass, the Christmas Oratorio — but nowhere near as imposing. This contrast has meant that a great piece of music has sometimes been treated as not quite great enough.

Which is a shame because the Easter Oratorio is one of Bach’s most consistently uplifting scores. [Read more…]

Canton Symphony: Mozart Requiem (Mar. 23)

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As a whole, Mozart’s Requiem is a grandiose work, sublime in its evocation of salvation and eternal rest, and fearsome in its visions of the Last Judgment. The grand forces that meet the eye — four soloists, chorus, and orchestra — suggest drama and spectacle, even if the scoring is dark: the lighter hues of flutes and oboes are omitted in favor of basset horns (cousins of the clarinet), bassoons, a choir of trombones, and strings in their lower registers. Even trumpets and timpani are used less for their ceremonial qualities than as emulsifiers of the texture.

[Read more…]

Canton Symphony enters a new era:
a conversation with music director designate Matthew Jenkins Jaroszewicz

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by Mike Telin

When Matthew Jenkins Jaroszewicz was appointed Music Director Designate of the Canton Symphony in August of 2020, the plan was for him to assume the role of Music Director in 2026. But with the passing in June of Gerhardt Zimmermann, the Orchestra’s longtime Music Director, Jaroszewicz suddenly found himself tasked with filling some big shoes sooner than expected.

On Saturday, October 7 at 7:30 pm, the young conductor will lead the Orchestra’s season-opening concert at Zimmermann Symphony Center. The program, titled “Ode to Freedom,” includes Joan Tower’s Made in America, Dmitri Shostakovich’s Symphony No. 5, and two works that will feature Seohyun Kim, winner of the 2022 Thomas and Evon Cooper International Violin Competition: Maurice Ravel’s Tzigane and Jeff Scott’s Song of the Uirapuru, receiving its world premiere. Tickets are available online.

I caught up with Jaroszewicz by phone and began by asking him how he is managing during this period of transition.

Matthew Jenkins Jaroszewicz: It’s been difficult for a lot of reasons. Obviously, in six years serving as Gerhardt’s assistant and then associate, I built a professional and personal relationship with him, and with his wife Sharon as well. The plan was for me to take over as Music Director in 2026, and after that Gerhardt would still be around as the Music Director Emeritus for five more years. So to not only be thrust into the role three years early, but to not have Gerhardt there as someone I could lean on as a mentor was a shock.

[Read more…]

Apollo’s Fire: Music of the Jewish & African Diasporas (Mar. 8)

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by Kevin McLaughlin

Who doesn’t love an Apollo’s Fire concert? Jeannette Sorrell and troupe always seem to offer a festival for the eye and ear — thoughtful thematic programs, all-out committed musicianship, and infectious exuberance. Wednesday’s program at Bath Church UCC was all this and more.

The third in a triptych of Jewish-themed programs titled “Exile and Resilience,” this one — thoughtfully conceived and researched program by Sorrell — offered seven perspectives on Jewish and African exile.

[Read more…]

Apollo’s Fire: Monteverdi’s Vespers of 1610 (Oct. 8)

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by Peter Feher

Apollo’s Fire can’t help returning to the music of Claudio Monteverdi. Cleveland’s period orchestra revived its thrilling take on the composer’s Vespers of 1610 to start the season, and you couldn’t ask for a better beginning. The 40-odd singers and instrumentalists who filled First Baptist Church in Shaker Heights on Saturday, October 8 had musical riches to spare, and a distinctive creative vision united it all.

The unifying thread wasn’t Monteverdi, however, but artistic director Jeannette Sorrell, who’s made a focused project out of this sometimes sprawling piece. Part of the challenge lies in the work’s sheer scope, which is emblematic of the composer’s career. The music looks back on older Renaissance and Medieval styles while also anticipating the innovations of the Baroque era.

[Read more…]

Apollo’s Fire: Israel in Egypt (Feb. 17)

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by Peter Feher   

When it comes to Handel’s oratorios, another repeat isn’t always a welcome thing. But Apollo’s Fire knows how to make an evening exciting, and the group’s reprise performances of the composer’s Israel in Egypt last week — in a streamlined version first presented by the ensemble in 2017 — kept the intrigue factor high.

Artistic director Jeannette Sorrell adapted the Baroque score with certain modern expectations in mind. Her production retains Handel’s solemn opening, achieving a kind of period authenticity, but jettisons much of the repetition and inessential action in the rest of the music. The result is a lean and engaging dramatic arc — less than two hours — that translates 18th-century entertainment for the 21st century.

[Read more…]

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