Jeannette Sorrell, Music Director of Apollo’s Fire: The Cleveland Baroque Orchestra, talks to Michael Miller

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Jeannette Sorrell. Photo Roger Mastroianni.

Jeannette Sorrell. Photo Roger Mastroianni.

(For a review of the Tanglewood concert, click here.)

Just yesterday I had the pleasure of talking with Jeannette Sorrell, Music Director of Apollo’s Fire, the highly acclaimed period orchestra based in Cleveland, where she founded it twenty-three years ago. Today, rather like the venerable Cleveland Orchestra, Apollo’s Fire tours extensively in North America and Europe, bringing Ms. Sorrell’s warm, expressive vision of Baroque playing to both seasoned and neophyte audiences. Tomorrow, July 2, she will lead them at Tanglewood in a program called “Bach’s Coffee House,” referring to the Café Zimmermann in Leipzig, where first Georg Phillipp Telemann and later Johann Sebastian Bach organised free public concerts. The program will include excerpts from Telemann’s incidental music to Don Quixote, Bach’s Fourth and Fifth Brandenburgs, and short pieces by Handel and Vivaldi.

(Musical excerpt from J. S. Bach, Brandenburg Concerto No. 5, Apollo’s Fire, led by Jeannette Sorrell, harpsichord. Avie Records, AV2207)

Seiji Ozawa Music Hall
July 2, 2015

Apollo’s Fire: The Cleveland Baroque Orchestra
Jeannette Sorrel, Music Director, conducting

Telemann – Excerpts from in the incidental music to Don Quixote – marking the 400th anniversary of Cervante’s Don Quixote, Part II
J.S. Bach – Brandenburg Concerto No. 4
J.S. Bach – Brandenburg Concerto No. 5
Handel – Chaconne from Terpsichore
Vivaldi (arr. Sorrell) – La Folia (Madness)


(For a review of the Tanglewood concert, click here.)

Apollo's Fire. Photo Sally Brown.

Apollo’s Fire. Photo Sally Brown.


About the author

Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

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