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Apollo’s Fire: ECHOES Across the Atlantic

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by Mike Telin

In Apollo’s Fire’s latest musical production, ECHOES Across the Atlantic, Jeannette Sorrell explores the historical connections between Europe and the Caribbean colonies in the 18th century. Across the waters, tales of love, despair, and resilience emerge from the palaces of Europe and the plantations of the Caribbean — with surprising resonance for today.

ECHOES is currently on tour with stops in Chicago and Urbana before coming to Cleveland for a single performance on Thursday, November 12 at 7:30 pm in Gartner Auditorium at the Cleveland Museum of Art.

Trinidadian soprano Jeanine De Bique is featured in this new program that includes music of Handel, Purcell, Rameau and Vivaldi along with soulful voices of Caribbean poets in this celebration of shared humanity. Tickets are available online.

I spoke to Jeanine De Bique by phone.

Mike Telin: You’re in Chicago where the tour begins this evening.

[Read more…]

Apollo’s Fire opens 35th season with “Ben Franklin in Paris”

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by Mike Telin

When America’s Founding Fathers needed to drum up French support for the Revolution, they sent 70-year-old Ben Franklin to Paris as their ambassador, where he immersed himself in the cultural life of the capital.

That period of time became the fodder for Jeannette Sorrell’s “Ben Franklin in Paris,” a program of orchestral works that were performed during his 9-year stay. The new program will kick off Apollo’s Fire’s 35th season on Thursday, October 15 at 7:30 at First United Methodist Church in Akron. A pre-concert talk with clarinetist Dominic Giardino will begin one  hour before each performance. Concerts run through October 18 — click here for times and locations. Tickets are available online.

I spoke with Jeannette Sorrell by phone to learn more about the program.

[Read more…]

Jeannette Sorrell and CityMusic shed new light on Beethoven’s Fifth Symphony (May 14)

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by Kevin McLaughlin

Audiences often associate Beethoven’s Fifth Symphony with orchestral mass — huge string sections, blazing brass, and symphonic muscle.

On May 14 at Fairmount Presbyterian Church, conductor Jeannette Sorrell and CityMusic Chamber Orchestra offered another approach, a leaner fate-knocker that surrendered none of its dramatic power.

From the podium, Director of Development Em Laudeman Ezell acknowledged Sorrell’s connection to CityMusic during the ensemble’s founding years. With Apollo’s Fire, Sorrell had already shown that a smaller professional ensemble in Cleveland could thrive outside the major-orchestra model. Her appearance for this series felt less like a guest engagement than a return.

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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 delights in second decade of Praetorius’ Christmas Vespers (Dec. 18)

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by Peter Feher

The German composer Michael Praetorius never had a Christmas hit on the level of, say, O Tannenbaum — an early version of which, circa 1600, is attributed to his contemporary Melchior Franck.

But in the 21st century, Praetorius has found seasonal success thanks to a team of savvy producers. Apollo’s Fire and artistic director Jeannette Sorrell have championed the composer for two decades now, fashioning his music into an enduring, historically informed holiday program. Christmas Vespers isn’t a single piece from the Praetorius catalog but rather a unique “best of” compilation that Cleveland’s Baroque orchestra unveiled in 2005 and last presented in 2015.

Who says a liturgical service can’t be popular? Apollo’s Fire once again drew sold-out crowds to church venues across Northeast Ohio with these concerts, including a packed Trinity Cathedral on Thursday evening, December 18. And for anyone who still can’t get enough Praetorius, the ensemble plans to release a video recording of the 2025 Trinity performances — not instead of, but in addition to, the group’s 2007 CD. [Read more…]

Apollo’s Fire to bring back Praetorius Christmas Vespers

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by Mike Telin

On Friday, December 12 at 7:00 pm at St. Paul’s Episcopal Church in Akron, Apollo’s Fire will revive its popular Praetorius’ Christmas Vespers under the direction of Jeannette Sorrell.

Soloists include sopranos Rebecca Myers, Andréa Walker, and Molly Netter, countertenor Doug Dodson, tenors Michael Jones and Matthew Newhouse, and bass Matthew Dexter along with Apollo’s Singers, and members of Apollo’s Musettes (Treble Youth Choir). The program will be repeated at 7:00 pm on the 18th and 19th at Trinity Cathedral, 7:00 pm on the 20th at First Baptist Church, and at 4:00 pm on the 21st at St. Raphael Catholic Church. Tickets are available online.

I caught up with Jeannette Sorrell on Zoom and began our conversation by asking her when she first created the program.

Jeannette Sorrell: Exactly 20 years ago. So, we’re bringing it back on the 20th anniversary of the premiere. [Read more…]

Apollo’s Fire: Mozart’s Requiem, A Tapestry at Severance Music Center (Nov. 8)

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by Daniel Hathaway

There’s a long history in Western sacred music of extending and enriching liturgical forms and texts by adding new material. That’s how we got mass movements titled Kyrie cunctipotens genitor: medieval monks added words to decorate long chains of untexted notes called melismas. J.S. Bach tucked five extra pieces in between movements of his first version of the Magnificat to more clearly place them in the context of Christmas celebrations in Leipzig.

More recently, in 1962 Benjamin Britten added devastating verse by World I “war poet” Wilfrid Owen to the traditional funeral rite of the western Christian Church in his War Requiem, written for the consecration of the new Coventry Cathedral, built next door to the bombed-out shell of the previous church.

Jeannette Sorrell has now added to that tradition with her Mozart’s Requiem: A Tapestry, which cleverly expands and comments on the composer’s work, left unfinished at his death in 1791, with works by Black composers. I heard the premiere of her Tapestry in an often brilliant performance by Apollo’s Fire at Severance Music Center on November 8. [Read more…]

Apollo’s Fire to premiere Mozart’s Requiem: A Tapestry

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by Mike Telin

For 234 years musicians have struggled with the question of how to perform Wolfgang Amadé Mozart’s Requiem, a piece that he left unfinished at the time of his death in 1791. Although his widow arranged for his student Franz Xavier Süssmayr to complete the work, many have found that version to be unsatisfactory.

In a press release Apollo’s Fire artistic director Jeannette Sorrell said, “As I pondered how to honor the legacy of Mozart’s unfinished Requiem, I found myself reflecting on voices that were silenced or overshadowed by the culture of that time. These voices speak to us profoundly today, as the world teeters on a precipice in so many ways. So, to complete the Requiem, I chose eight movements from sacred-inspired works by living Black composers. In this way, we pay homage to Mozart by honoring the humanity within us all.”

[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 begins new season: a conversation with Jeannette Sorrell

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by Mike Telin

During a Zoom conversation, Apollo’s Fire artistic director Jeannette Sorrell gave us her insights into the Orchestra’s 2025-2026 Northeast Ohio season as well as a sneak peek into its April residency at London’s historic Church of St. Martin-in-the-Fields. Tickets and more information are available on the Orchestra’s website.

Henry Purcell’s Dido and Aeneas — October 3 through 12.

Aryssa Leigh Burrs, mezzo-soprano (Dido), Edward Vogel, baritone (Aeneas), Andréa Walker, soprano (Belinda), and Cody Bowers, countertenor (Sorceress) with the Apollo’s Singers.

Jeannette Sorrell: I think Purcell’s music is just so exquisite. And the story of Dido and Aeneas is timeless and as poignant today as it was thousands of years ago when Virgil wrote it — the noble, brilliant queen who is jilted and abandoned by a man who says he’s leaving to follow his destiny.

[Read more…]

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