by Robert Rollin
This past week Apollo’s Fire, Cleveland’s Baroque orchestra conducted by Jeannette Sorrell, presented five performances of its “Virtuoso Bach” program. Sunday afternoon’s performance at Rocky River Presbyterian Church benefitted visually from the church’s lovely setting, but the high ceiling and wide space created a rather muddy acoustic that at times affected the clarity of sound. [Read more…]
by Nicholas Jones
Venice can be pretty wet in November, but the music of Apollo’s Fire this weekend took us there and back with shoes dry and hearts warmed. With music director Jeannette Sorrell as tour guide, “Love in Venice: A Multicultural Fiesta” took us not only to palazzi on the Grand Canal, but also ushered us safely through the crowded streets and tiny squares where Jews and Arabs traded and mixed — not always comfortably — with the ruling Christians. I attended the Sunday, November 20 performance at Rocky River Presbyterian Church. [Read more…]
by Timothy Robson
On Thursday evening, June 16 at Baroque Music Barn in Hunting Valley, Apollo’s Fire’s Countryside Concerts presented a new show, “My Island Home: Songs and Stories of Newfoundland,” created by Meredith Hall and Sylvain Bergeron in cooperation with Montréal’s Ensemble La Nef.
by Daniel Hathaway
“If people liked ‘Sacrum Mysterium: A Celtic Christmas,’ they’ll know how great it is when you mix La Nef in with Apollo’s Fire people,” soprano Meredith Hall said in a recent telephone conversation.
Hall, who starred in that earlier show, returns to Cleveland this week to rejoin Sylvain Bergeron of Montréal’s Ensemble La Nef; Apollo’s Fire soloists Susanna Gilmore, fiddle, Kathie Stewart, flutes, and Tina Bergmann, hammered dulcimer; and other members of the Countryside Concerts ensemble for six performances of a new summer program called “My Island Home: Songs and Stories of Newfoundland.” [Read more…]
by Nicholas Jones
Like all great drama, Johann Sebastian Bach’s Passions — his settings of the gospel accounts of Jesus’s crucifixion — present conflicting points of view. We see the Passion through so many characters in the story — the disciple Peter, who denies knowing Jesus; the conflicted Roman governor Pilate, who finds no guilt in Jesus and yet sends him to the cross; the angry crowd, which demands his crucifixion; and Jesus himself, suffering and yet transcending his suffering. At every point, Bach demands our involvement with the conflicting ways in which each of these actors interpret the crucial event of the Christian story. [Read more…]
The Power of Love: Arias from Handel Operas. Amanda Forsythe, soprano, with Apollo’s Fire, Jeannette Sorrell, conducting (Avie).
Start with the second track of this excellent survey of George Frideric Handel’s expertise in writing for the soprano voice and its realization through the supple vocal chords of Amanda Forsythe. “Geloso tormento,” from Almira, the 19-year-old composer’s first opera, shows how ravishingly Handel and Forsythe can depict both rage and lament in the course of a single aria. (The soprano stunned audiences with such vocal prowess in the role of Edilia in the same opera during the 2013 Boston Early Music Festival.)
Arias from nine operas are featured in this collection, plus four wildly contrasting orchestral movements from Terpsichore (Il Pastor fido) — a graceful chaconne, a skittering entrée depicting jealousy, a delightful air, and a ballo for recorders and violins. Those interludes give Forsythe a virtual breather between her exhausting representations of the many emotions of a soprano in love (now she’s like a butterfly hovering around a lamp, now she’s a calculating temptress, now she’s a cruel traitor, finally, she’s a shattered ship reaching safe harbor). [Read more…]
by Daniel Hathaway
Venice, always on the verge of sinking into the Adriatic, rose well above sea level on Friday evening at Fairmount Presbyterian Church in Cleveland Heights as Apollo’s Fire began its 24th season with “Splendor of Venice: An Orchestral Extravaganza.” Following a parade by the musicians up the center aisle heralded by natural horns on either side of the stage, founder and conductor Jeannette Sorrell announced in her opening remarks that she would play the role of Rick Steves that night, taking the audience on a musical tour of 18th-century Venice. [Read more…]
by Jane Berkner
Apollo’s Fire regaled the audience with a musically satisfying and well-played concert on June 29 at First United Methodist Church in Akron. One of its gala send-off concerts planned for this summer, the group played the same program at the Tanglewood Festival in Massachusetts at the end of the week. The concert opened with selections from Telemann’s Don Quixote Suite, a musical portrayal of Cervantes’ novel. [Read more…]
by Daniel Hathaway
When you live in a climate like Cleveland’s (or Leipzig’s, for that matter), at the first sign of moderating weather, you want to take your activities out-of-doors — rain, bugs, wind and humidity be damned. In Leipzig, Johann Sebastian Bach led summer concerts in Zimmermann’s Kaffegarten. In Hunting Valley last week, Jeannette Sorrell led two concerts in the “Baroque Music Barn” at the intersection of Shaker Boulevard and Chagrin River Road. On those occasions, the building formerly used to store apples rang out with the music of Bach and Telemann, including a thorny trio sonata, a requiem for a canary, and a virtuoso concerto. [Read more…]
by Daniel Hathaway
When summer arrives, Apollo’s Fire lets its hair down and goes off to visit Baroque music’s country cousin — the music of Appalachian America. The ensemble’s previous show, “Come to the River,” now has a prequel: “Sugarloaf Mountain,” an equally irresistible collection of tunes from the old and new worlds chronicling the passage of immigrants from the British Isles to their new homes in the American south — in the shadow of Sugarloaf Mountain. [Read more…]