Handel's MESSIAH

Handel's M ess I ah

Board of Directors 4

Program 8

Notes on the Program 12

Soloist Profiles 19

Jeannette Sorrell 22

Musician & Chorister Roster 35

About Apollo’s Fire 38

Musician Profiles 39 Chorister Profiles 42

Foundations & Government Support 50

Individual Support 51

Thank you to our Innkeepers & Charioteers 53

Apollo's Fire Administration 54

ON THE COVER: Fame (oil on canvas) / Sementi, Giovanni Giacomo (1583-1636) Italian Location Galleria Sabauda, Turin, Piedmont, Italy / Bridgeman Images

Board of Directors

President

Charles A. Bittenbender

Chair

James B. Rosenthal

Vice Presidents

Kathleen Cerveny William A. Powel III

Secretary

Andrew Gordon-Seifert

Treasurer

Ryan Siebel

Assistant Treasurer

Jeffrey P. Barnett

Karl Bekeny

William P. Blair III

Judy Iwata Bundra, Ph.D.*

Ann Fairhurst

Ka-Pi Hoh, Ph.D. Robert H. Jackson

Thomas Forrest Kelly, Ph.D.

Richard J. Lederman, M.D.

Meng “Locky “ Liu

Fred J. Livingstone

Stephen A. Mahoney, M.D.

Michael J. Meehan

Linda M. Olejko

Kim S. Parry

Brendan Patterson, M.D. David J. Reimer

Phillip Rowland-Seymour Noha Ryder*

Daniel Shoskes, M.D. Jeannette Sorrell* Kathie Stewart** Rebecca Storey Dean Valore Herb Wainer Sue Yelanjian**

Apollo’s Fire Chicago

Katrina Pipasts, president Charles A. Bittenbender

Judy Bundra*

Blondean Davis, Ed.D. Elisa Ross, M.D. Jonathan Ross, M.D.

Phillip Rowland-Seymour James C. Sheinin, M.D. Jeannette Sorrell*

*ex officio **Musicians’ Representative

Community Advisors

Rodrigo Lara Alonso McKenna Glorioso Dianna White-Gould Lisa Whitfield

Continuo Society

Akron Advisory Board

Thomas Clark, chair

Esther Cooper

Susan Delahanty Barbara Feld Ashlee Foreman William Foster Walter Keith

George Litman, M.D. Lori Nelson

Kenneth Shafer, M.D. Sandra R. Smith Libby Upton

The Ambassadors Council

Ann Fairhurst, co-chair

Elizabeth Patterson, M.D., co-chair

Mitchell Blair

Frances S. Buchholzer

Robert Conrad

William E. Conway

Samuel S. Hartwell

Malcom Henoch

Marguerite B. Humphrey

Rabbi Roger C. Klein

Annette Lowe

Deb Nash

Robert Reynolds, M.D. Kasia Rothenberg, M.D. Sandra R. Smith Ed Weber

Apollo’s Fire recognizes and sends continued thanks to all former members of the Board of Directors, who have so generously contributed their time, talents and financial resources over the years. Just as the continuo is the foundation of baroque music, these visionary individuals, through their service on the board, have been the foundation of Apollo’s Fire.

Thomas S. Allen

Bonnie Baker

James Berlinski

Christine Brez

Arthur V. N. Brooks†

Sally Brown†

Richard Buffett

Thomas Clark

Nancy Bell Coe

Ronald Crutcher

T. Clifford Deveny, M.D.

Clarence Drichta

Ross W. Duffin

James Ehrman

Suzanne Ferguson William J. Flemm

Mark Floyd

John Gibbon

Robert C. Gilkeson, M.D.

Scott Gonia

Joyce Graham

Paula Grooms

Norman C. Harbert†

Russell Hardy

Samuel Harris

Jonathan Hatch

John D. Heavenrich

Conway Ivy

Denise Jackson

Delia Jarantilla

Marjorie H. Kitchell

Katherine Larson

Donald Laubacher

William H. Lennon

David Love

Michael Lynn

Polly Morganstern

Donald W. Morrison†

Clyde L. Nash, M.D.†

Charlotte Newman

Leroy B. Parks, Jr.

Thomas F. Peterson, Jr.

Jane Pickering

Ronald Potts, M.D.

Sanford Reichart

Robert Reynolds, M.D.

Shawn Riley

Richard Rodda

Alex Sales, D.D.S.

Sandra F. Selby

William Sheldon, M.D.

John Shelley

Carsten Sierck

Kempton Smith

Kathie Lynne Stewart

Eugenia Strauss

Susan Troia

Lee Warshawsky

Carol Wipper

Lynne Woodman

Roger Wright

Dave Young

These concerts are made possible in part by support from Cuyahoga Arts & Culture - Thank you!

Performing on historical instruments, Apollo’s Fire brings to life music of the past for audiences of today, with Passion. Period.

Apollo’s Fire at Playhouse Square Wassail!

An Irish-Appalachian Christmas

On Christmas night in Old Ireland, families and friends gathered for singing, storytelling, and plenty of wassail. From a caroling party through the streets of Dublin to a holiday barn dance in Virginia… this heartwarming program from Jeannette Sorrell follows the hopes and fears of the Irish who bravely crossed the Atlantic. Irish singer Fiona Gillespie joins with fiddlers, medieval harp, hammered dulcimer, and bagpipes in this communal celebration of the American immigrant experience. The people of the mountains welcome Christmas with LOVE, SINGING, DANCING and PRAYER.

“Riveting… spectacularly performed and deeply moving.” – SEEN & HEARD INTERNATIONAL (Review of Apollo’s Fire’s “Sugarloaf Mountain Christmas”)

Wednesday & Thursday, December 21 & 22 at 7:30pm Allen Theatre, Playhouse Square, CLEVELAND WASSAIL! is co-presented by Cleveland Play House

Handel's

M ess I ah

Jeannette Sorrell, conductor Sonya Headlam & Erica Schuller, sopranos Amanda Crider* & Kim Leeds†, mezzo-sopranos

Steven Caldicott Wilson, tenor Edward Vogel, baritone

Tuesday, December 6, 7:00pm† Federated Church, Chagrin Falls, OH Wednesday, December 7, 7:00pm*† Lakewood United Methodist, OH Thursday, December 8, 7:00pm* St. Paul’s Episcopal Church, Akron, OH Friday, December 9, 7:30pm* First Presbyterian Church, Evanston, IL Saturday, December 10, 8:00pm* First Baptist Church, Shaker Heights, OH Sunday, December 11, 5:00pm* First Baptist Church, Shaker Heights, OH

Also available at home beginning December 23rd as part of AF's Worldwide Watch-at-Home series. Watch anytime for 30 days!

Handel’s MESSIAH

Please note that weeknight performances are slightly shortened, so a few movements are omitted on Tuesday, Wednesday and Thursday.

Part the First – Prophecy of Christ’s appearance on earth; the Nativity.

Sinfony

Comfort ye (Isaiah 40:1-3)

Sonya Headlam (12/6, 8-11) Erica Schuller (12/7)

Comfort ye my people, Saith your God. Speak ye comfortably to Jerusalem, And cry unto her, That her warfare is accomplished, That her iniquity is pardoned. The voice of him that crieth in the wilderness: ‘Prepare ye the way of the Lord; Make straight in the desert a highway for our God.’

Ev’ry valley (Isaiah 40:4)

Sonya Headlam (12/6, 8-11) Erica Schuller (12/7)

Ev’ry valley shall be exalted, And ev'ry mountain and hill made low, The crooked straight and the rough places plain.

And the glory of the Lord (Isaiah 40:5) Chorus

And the glory of the Lord shall be revealed, And all flesh shall see it together, For the mouth of the Lord hath spoken it.

Thus saith the Lord (Haggai 2:6-7; Malachi 3:1) Edward Vogel

Thus saith the Lord, the Lord of Hosts; Yet once a little while, And I will shake the heavens and the earth, The sea and the dry land

And I will shake all nations, And the desire of all nations shall come, The Lord whom ye seek shall suddenly come to his temple Ev’n the Messenger of the Covenant, whom ye delight in: Behold, he shall come, saith the Lord of Hosts.

But who may abide (Malachi 3:2) Edward Vogel

But who may abide the day of his coming, And who shall stand when he appeareth? For he is like a refiner’s fire.

And he shall purify (Malachi 3:3) Chorus

And he shall purify the sons of Levi, That they may offer unto the Lord an offering in righteousness.

Behold, a virgin shall conceive (Isaiah 7:14; Matthew 1:23) Kim Leeds (12/6-7); Amanda Crider (12/8-11) Behold, a virgin shall conceive and bear son, And shall call his name Emmanuel, GOD WITH US.

O thou that tellest (Isaiah 40:9) Kim Leeds (12/6-7); Amanda Crider (12/8-11) & Chorus

O thou that tellest good tidings to Zion, Get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, Lift up thy voice with strength; Lift it up, be not afraid –say unto the cities of Judah Behold your God.

O thou that tellest good tidings to Zion, Arise, shine, for thy light is come, And the glory of the Lord is risen upon thee.

For behold, darkness (Isaiah 60:2,3)

Edward Vogel

For behold, darkness shall cover the earth, And gross darkness the people. But the Lord shall arise upon thee, And his glory shall be seen upon thee. And the Gentiles shall come to thy light, And kings to the brightness of thy rising.

The people that walked in darkness (Isaiah 9:2)

Edward Vogel

The people that walked in darkness have seen a great light; And they that dwell in the land of the shadow of death, Upon them hath the light shined.

For unto us a child is born (Isaiah 9:6) Chorus

For unto us a child is born, Unto us a son is given, And the government shall be upon his shoulder, And his name shall be called Wonderful Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace.

Pifa (Pastoral Symphony)

There were shepherds (Luke 2:8-11,13)

Sonya Headlam (12/6) Erica Schuller (12/7-11)

There were shepherds abiding in the field, Keeping watch over their flock by night. And lo, the angel of the Lord came upon them, And the glory of the Lord shone round about them, And they were sore afraid. And the angel said unto them, ‘Fear not: for behold, I bring you good tidings of great joy, Which shall be to all people. For unto you is born this day in the city of David a saviour,

Which is Christ the Lord.’ And suddenly there was with the angel A multitude of the heav’nly host, Praising God and saying:

Glory to God (Luke 2:14)

Chorus

‘Glory to God in the highest, and peace on earth, Goodwill toward men.’

Rejoice

Greatly (Zechariah 9:9-10)

Sonya Headlam (12/6) Erica Schuller (12/7-11)

Rejoice greatly, O daughter of Zion, Shout, O daughter of Jerusalem, Behold thy King cometh unto thee. He is the righteous Saviour, And he shall speak peace unto the heathen.

Then shall the eyes of the blind be open’d (Isaiah 35:5-6) Kim Leeds (12/6-7); Amanda Crider (12/8-11)

Then shall the eyes of the blind be open’d, And the ears of the deaf unstopped. Then shall the lame man leap as an hart, And the tongue of the dumb shall sing.

He shall feed his flock like a shepherd (Isaiah 40:11; Matthew 21:28-29) Erica Schuller Kim Leeds (12/7); Amanda Crider (12/8-11)

He shall feed his flock like a shepherd; And he shall gather the lambs with his arm, And carry them in his bosom, And gently lead those that are with young. Come unto him, all ye that labour, That are heavy laden, and he will give you rest. Take his yoke upon you, and learn of him; For he is meek and lowly of heart: And ye shall find rest unto your souls.

His yoke is easy (Matthew 11:30) Chorus

His yoke is easy, his burthen is light.

Part the Second – the suffering, death, and resurrection of Christ; the spreading of the Gospel and its triumph throughout the nations.

Surely he hath borne our griefs (Isaiah 53:4-5)

Chorus

Surely he hath borne our griefs, And carried our sorrows. He was wounded for our transgressions, He was bruised for our iniquities, The chastisement of our peace was upon him.

And with his stripes we are healed (Isaiah 53:5)

Chorus

And with his stripes we are healed.

All we, like sheep (Isaiah 53:6) Chorus

All we, like sheep, have gone astray: We have turned everyone to his own way; And the Lord hath laid on him The iniquity of us all.

He was despised (Isaiah 53:3; 1-6) Kim Leeds (12/6); Amanda Crider (12/7-11)

He was despised and rejected of men, A man of sorrows, and acquainted with grief. He gave his back to the smiters, And his cheeks to them that plucked off the hair. He hid not his face from shame and spitting.

All they that see him

(Psalm 22:7 – Book of Common Prayer) Steven Caldicott Wilson

All they that see him laugh him to scorn, They shoot out their lips, And shake their heads saying:

He trusted in God (Psalm 22:8) Chorus

‘He trusted in God that he would deliver him, Let him deliver him if he delight in him.’

Thy rebuke hath broken his heart (Psalm 69:21)

Steven Caldicott Wilson

Thy rebuke hath broken his heart, He is full of heaviness; He looked for some to have pity on him;

But there was no man, Neither found he any to comfort him. Behold and see if there be any sorrow, Like unto his sorrow. He was cut out of the land of the living, For the transgression of thy people was he stricken.

But Thou didst not leave his soul in hell, Nor didst Thou suffer thy Holy One to see corruption.

Thou art gone up on high (Psalm 68:18)

Amanda Crider (12/8-11) with Olivier Brault, violin Thou art gone up on high, Thou hast led captivity captive, And received gifts for men: Yea, even for thine enemies, That the Lord God might dwell among them.

The Lord gave the word (Psalm 68:11) Chorus

The Lord gave the word: Great was the company of the preachers. How beautiful are the feet (Romans 10:15)

Sonya Headlam with Olivier Brault, violin How beautiful are the feet of them That preach the gospel of peace, And bring glad tidings of good things.

Why do the nations (Psalm 2:1-2) Edward Vogel

Why do the nations so furiously rage together?

Why do the people image a vain thing? The kings of the earth rise up, And the rulers take counsel together: Against the Lord and against his Anointed.

Let us break their bonds (Psalm 2:3) Chorus

Let us break their bonds asunder, And cast away their yokes from us.

He that dwelleth in heaven (Psalm 2:4)

Steven Caldicott Wilson

He that dwelleth in heaven shall laugh them to scorn: The Lord shall have them in derision. Thou shalt break them (Psalm 2:9) Steven Caldicott Wilson

Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel.

Hallelujah

(Revelations 19:6; 11:15; 19:16) Chorus

Hallelujah!

For the Lord God Omnipotent reigneth. Hallelujah!

The Kingdom of this world Is become the Kingdom of our Lord, And of his Christ. And he shall reign forever and ever. KING OF KINGS AND LORD OF LORDS. HALLELUJAH!

Part the Third – Victory over Death.

I know that my Redeemer liveth (Job 19:25-26; I Corinthians 15:20) Sonya Headlam(12/6, 8-11); Erica Schuller (12/ 7) with Olivier Brault, violin

I know that my redeemer liveth, And that he shall stand at the latter day Upon the earth. And though worms destroy this body, Yet in my flesh shall I see God. For now is Christ risen from the dead, The first fruits of them that sleep.

Since by man came death (I Corinthians 15:21-22) Chorus

Since by man came death, By man came also the resurrection of the dead. For as in Adam all die, Even so in Christ shall all be made alive.

Behold, I tell you a mystery (I Corinthians 15:51-52) Edward Vogel

Behold, I tell you a mystery; We shall not all sleep, But we shall all be chang’d, In a moment, In the twinkling of an eye, At the last trumpet.

The trumpet shall sound (I Corinthians 15:52-54) Edward Vogel with Steven Marquardt, trumpet

The trumpet shall sound, And the dead shall be raised incorruptible,

And we shall be changed. For this corruptible must put on incorruption, And this mortal must put on immortality. If God be for us, who can be against us? (Romans 8:31, 33-34) Erica Schuller (12/8-11) with Susanna Perry Gilmore, violin

If God be for us, who can be against us? Who shall lay anything to the charge of God’s elect?

It is God that justifieth. Who is he that condemneth?

It is Christ that died, yea rather, That is risen again, Who is at the right hand of God, Who makes intercession for us.

Worthy is the Lamb (Revelation 5:12-13) Chorus

Worthy is the Lamb that was slain, And hath redeemed us to God by his blood, To receive power, and riches, And wisdom, and strength, And honor, and glory, and blessing. Blessing and honor, Glory and power be unto him That sitteth upon the throne, And unto the Lamb; Forever and ever. Amen!

Notes on the Program

A Theatrical-Spiritual Journey

by Jeannette Sorrell

Behold, I tell you a mystery; We shall not all sleep, But we shall all be chang’d.

Handel’s Messiah, Part the Third; (Corinthians 15:51)

Each time I return to Handel’s Messiah, I find myself marveling at the boldness of the experiment that Handel and his librettist Charles Jennens undertook in 1741. They proclaimed their work “A New Sacred Oratorio,” and Jennens provided Handel with a unique and unprecedented libretto on which to base his music. At the same time, he pushed the limits of the oratorio genre in a new and challenging direction.

An oratorio is a dramatic work – an opera on a Biblical subject – performed without sets or costumes, but performed in opera houses or concert halls by theatrically trained singer-actors. All of Handel’s oratorios, including Messiah, were attended by opera goers, who bought tickets and expected theatrical, though Biblically inspired, entertainment. In fact, Handel's oratorios were written only to replace operas during Lent when opera was not allowed. Though Handel primarily used Messiah as a charity fundraiser – “for the Relief of the Prisoners in the several Gaols, and for the support of Mercer’s Hospital in Stephen’s Street,” as the 1742 première was advertised – he never offered it as part of a church service. The première took place at the Musick Hall in Fishamble Street in Dublin, and the London première the following year was held at Covent Garden.

Unlike other oratorios though, the Messiah libretto lacks direct use of character roles. The birth, life, crucifixion, and resurrection of Christ are not recounted in a direct manner, as in the Passion-Oratorios of J.S. Bach. The characters of the story – Jesus, Pilate, etc. – are not represented by any of the soloists. In fact, the libretto cloaks its dramatic storytelling in a spiritual meditative context of Old Testament prophecy and New Testament contemplation. Is Messiah an oratorio? Is it a theatrical entertainment, as well as a spiritual journey?

G.F. Handel

Handel's Messiah

This question troubled the public when Handel brought the work home to London. The 1743 London première was greeted by an anonymous letter that appeared in the Universal Spectator: “An Oratorio either is an Act of Religion, or it is not; if it is, I ask if the Playhouse is a fit Temple to perform it in, or a Company of Players fit Ministers of God’s Word…. if it is not perform’d as an Act of Religion, but for Diversion and Amusement only… what a Prophanation of God’s name and Word is this, to make so light use of them?”

Of course, Messiah is both an “act of religion” and a “diversion.” That unique duality, which caused such criticism in Handel’s lifetime, is in my view the reason why it continues to speak to so many people today. Jennens set out not to tell a story, but to draw his listeners through contemplation of this multi-layered ancient tale. We are made to reflect not just on the events of Jesus’ life, but on Christ’s impact on human experience – both before and after his time on earth. Thus the Oratorio begins with the Old Testament prophet Isaiah, crying in the wilderness: “Comfort ye, my people, says your God. Cry to her that her warfare is ended, and her iniquity is pardoned. Prepare the way of the Lord.” Here we have a message on two levels: on a historical level, the oppressed Israelites, captive in Babylon, are told that comfort is on the way, and their Messiah is coming; and on a universal level, all humanity, oppressed by the weight of sin, is informed that salvation is on the way – for the Messiah’s coming will free us from the bonds of sin. Handel responded to the challenge of this unique libretto with the genius that perhaps can strike a great composer only at a critical moment of his life. Handel himself was oppressed and in need of comfort. From the first notes of the overture (Sinfony), Handel took up Jennens’ challenge. The overture, darkly scored in E minor, is full of distressed and angular intervals – hardly music for a Christmas celebration. But Messiah is not a Christmas celebration, as it has become in North America. It is a Judeo-Christian journey. The dark overture sets the stage for Isaiah, in the form of a tenor, who launches the drama with his plaintive cries in the wilderness.

And so we proceed through Part the First, passing obliquely through the shepherds in the fields – recognizable to any 18th-century listener by the standard pastorale music (Pifa) that was always used to depict shepherds. And we rejoice with the angels over Bethlehem – their entrance signaled by the first appearance of the trumpets, whom Handel reserves for only a few climactic moments in the course of the oratorio.

Handel's Messiah

Charles Jennens

In Part the Second we contemplate the trial, crucifixion and resurrection of Christ primarily through the ancient prophetic words of Isaiah and the Psalms – words put to papyrus 800 years before the birth of Christ. In contrast with J.S. Bach’s very direct depiction of the mockery and torture of Jesus at the hands of the unruly mob, Handel and Jennens draw us to the fact that all of this was foreseen centuries earlier by the Psalmist: “All they that see him laugh him to scorn.”

The moment of Christ’s ascension is a sweet and understated aria, “Thou art gone up on high,” which Handel scores for only violin(s) and continuo. The lack of full orchestration seems to suggest a highly personal and intimate contemplation of this unique event in human history. Handel did not indicate “violins” (plural), as this aria is usually performed today – though he did not specifically indicate “solo” either. We have chosen to perform it with solo violin, to intensify the intimacy of the moment.

In the last few movements of Part the Second, Jennens uses the voice of the ancient Psalmist to convey the chaos and wars that followed in the centuries after Christ. Presumably the texts of “Why do the nations rage so furiously together” and “Thou shalt break them with a rod of iron” are intended to draw our thoughts to the Crusades of the Middle Ages and the violent conflicts surrounding the Protestant Reformation in Europe. (One could take this farther to reflect upon today’s tensions between the Muslim and the Judeo-Christian worlds.) Vanquishing all enemies real and potential with the splendid Hallelujah chorus, Handel and Jennens proclaim God’s omnipotence as ruler over all. Part the Third is a contemplation on the afterlife – the victory over death that is made possible through Christ’s sacrifice. A lone soprano launches this journey, declaring, “I know that my Redeemer liveth.” Her quiet spiritual ecstasy relays that all of us will live again, since Christ did: “And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen.” Jennens and Handel build from this quiet and personal statement of faith to something much more universal: “The trumpet shall sound, and the dead shall be raised.” Now we see all humanity victorious over death, and Handel brings out the cherished trumpet to celebrate the universal triumph. It is with words from Revelation – the final book of the New Testament – that Jennens paints a picture of the Messiah as the sacrificial lamb of God, now seated on the throne in glory and honor. Thus our journey has taken us from Isaiah’s prophecies in 800 B.C., through the life of Christ, the Middle Ages and the Protestant Reformation, to a vision of the world to come. That is quite a distance. It is surprising that Handel managed to traverse it in under three hours. No wonder Messiah seems short. Each time that we perform it, we know that in some way, as Handel said, we shall all be chang’d.

“The Messiah we’ve been waiting for.” –PITTSBURGH POST-GAZETTE

“The players take their namesake ‘Fire’ to heart.” –THE NEW YORK TIMES

“First rate… a winning, distinctive new version.” – ST. LOUIS POST-DISPATCH

“Every phrase is shaped with a keen blend of fidelity and imagination... bringing the drama into tight, blazing focus…. This is a ‘Messiah’ that tells its story with sometimes fierce power. Yet Sorrell also is a conductor who adores nuance. Choral clarity of this sort is almost unheard of today.”

– THE PLAIN DEALER

“Sorrell draws brilliance and grandeur from her musicians. A lively and buoyant presentation… dramatic and poignant.” – CLEVELANDCLASSICAL.COM

Handel’s MESSIAH – Then and Now

1741. George Frideric Handel was 56 years old, and his career appeared to be finished. The fickle English public, which had lapped up his operas so eagerly for so long, had suddenly – like sheep – gone astray. Their distaste for Handel reached a frenzy of hostility: Handel hate-poems appeared in the newspapers, his opera posters were torn down as soon as they were put up, and the doors of Covent Garden were closed to him.

Despised and rejected, Handel seems to have withdrawn into seclusion. His librettist, Charles Jennens, wrote, “Handel says that he will do nothing next winter, but I hope I shall persuade him to set another Scripture collection I have made for him. I hope he will lay out his whole Genius and Skill upon it, that the composition may excel all his former compositions, as the Subject excels every other subject. The subject is Messiah…”

Handel began composing Messiah on 22 August. On 6 September he completed the Hallelujah chorus, of which he reportedly said, “I did think I did see all heaven before me and the great God himself.” The entire oratorio was completed on 14 September – a total of 24 days’ work. One might say that it takes a typical conductor longer to learn Messiah than it took Handel to write it.

Early in November, Handel set sail for Ireland at the invitation of the Duke of Devonshire, who wanted to beautify Dublin with Handel’s music for a season. Thus Messiah made its debut not in London, Handel’s home, but in Ireland, a land that treated him with greater courtesy.

Handel chose the singers himself, both in Dublin and later in London. His choices shed light on the type of performance he envisioned. Many of them were known better for their acting skill than for their voices. The mezzo-soprano Susanna Cibber was a Shakespearean tragedienne who, according to contemporary reports, had “a mere thread of a voice,” but held stunning emotional power over her audience. After her performance of “He was despised,” the Reverend Dr. Delaney rose up in the audience and exclaimed, “Woman, for this thy sins be forgiven thee!” Mrs. Cibber was not chosen simply for lack of other options. Charles Burney wrote that “Handel was very fond of Mrs. Cibber, whose voice and manners had softened his severity for her want of musical knowledge.”

Susanna Cibber

In the première performance and the years that followed, Handel constantly adapted Messiah to feature whichever singers happened to be available that

year. Thus there is no definitive version of Messiah, no definitive number and type of soloists, and no definitive disposition of the arias amongst the soloists. Not once was Messiah performed exactly as Handel had written it in 1741. Even for the première, he made changes to accommodate his chosen cast: he wrote a new alto duet version of “How beautiful are the feet,” apparently to feature the two local countertenor soloists (one of whom was featured in “O thou that tellest” and the other in the duet “O death, where is thy sting?”). Thus, along with Mrs. Cibber, there were three alto soloists for the première. In another example, the 1754 version which Handel bequeathed to the Foundling Hospital is scored for five soloists (this time two sopranos), with indication that the soloists sing in the chorus. Handel’s chorus usually numbered in the mid-twenties. His orchestra was only strings for the Dublin première, but he added winds for the Foundling Hospital performances in the 1750s. It is therefore inappropriate to talk about a “correct” orchestration, or a “correct” number of soloists for Messiah. Of the many different combinations Handel used, the least typical is the SATB quartet and large chorus that modern audiences tend to expect. Of course, the aesthetic of “bigger is better” has colored our impression of Messiah for the last 200 years, as is evidenced by comments gathered from the 19th-century press by Professor Howard Smither: “Whoever heard of a choir too large for Handel? Not though nations should be formed into choirs, would the true votary of Handel cry ‘Hold, enough!’” (Musical Examiner, 1843). In 1859, Messiah was performed with a chorus of 2,765 and an orchestra of 460. In 2022, however, many of us are indeed crying, “Hold, enough!” The coldness and anonymity of the high-tech age have made their mark on our society, leaving many of us with a longing for intimacy and individual personality. The fact that Apollo’s Fire performs Messiah with intimate forces on period instruments is not what matters. But if we can move you to tears as Susanna Cibber did – if we can make you see “all Heaven before you, and the great God himself ” – then we will have achieved real authenticity. – JS

The Musick Hall, Dublin

Apollo’s Fire believes that the arts are most compelling when they truly represent our diverse communities, including people of color. Whether on stage or in the audience, the deep emotions of music resonate with all of us.

The MOSAIC PROJECT, underway at Apollo’s Fire since January 2020, is an ambitious Diversity, Equity, and Inclusivity initiative that offers training, performance, and mentoring for talented young musicians of color. Conceived by Artistic Director Jeannette Sorrell, the program strives to increase diversity throughout the national early music field through a “pipeline” approach. The MOSAIC Project has expanded to Chicago, where AF has launched a major partnership with Matteson School District 162 on Chicago’s South side.

The Mosaic Project is generously sponsored in part by

With additional support from Tom & marilyn mclaugHlin, laura & Joe rusHTon, and JaneT

Herb and Jody Wainer &

Takeyama

Reggie Mobley Visiting Artist for Diversity Outreach

Ashlee Foreman Artist Fellow

Sonya Headlam Guest Artist

Jonathan Woody Commisioned Composer

Finale from “Lift Ev’ry Voice - A Celebration of Brotherhood and Sisterhood”

Soloist Profiles

Handel's Messiah

Born of Jamaican parentage, soprano SONYA HEADLAM has been praised as “an entrancing soloist… with elan, flawless intonation, a velvety middle voice, and onthe-mark coloratura” (South Florida Classical Review). Engagements in 2022 include her Philadelphia Orchestra debut in Handel’s Messiah; Beethoven’s Ninth Symphony and Handel’s Messiah with the North Carolina Symphony; Bach’s B Minor Mass with the Grand Rapids Symphony; a much praised debut with the New World Symphony (Miami) in Mozart’s Exsultate Jubilate; and her Severance Hall debut with Apollo’s Fire, with critics calling her “the highlight of the concert… she sang flawlessly and with seeming abandon” (ClevelandClassical.com). Previous solo engagements include Carnegie Hall and venues in South America, Europe, and Asia, as well as a Caribbean tour with members of the Cuban Philharmonic. On the opera stage, highlights include Fiordiligi in Mozart’s Così fan tutte with Light Opera of New Jersey. Sonya holds a Doctorate in Vocal Performance from Rutgers University.

Praised for her “lively personality, abundant charm, and luscious vocalism” (Chicago Tribune), soprano ERICA SCHULLER is a versatile performer, bringing committed artistry to a broad musical repertory. She has performed leading and supporting roles with the Boston Early Music Festival, Haymarket Opera Company, Apollo’s Fire, Odyssey Opera, Florentine Opera Company, Opera Siam (Bangkok), and Skylight Opera Theatre. As a concert soloist, Ms. Schuller has appeared with Apollo’s Fire, Ars Lyrica Houston, the Lincoln Trio, New Trinity Baroque, Great Lakes Baroque, Milwaukee Symphony Orchestra, Elgin Symphony Orchestra, the San Francisco Chamber Orchestra, the San Francisco Bach Choir, and Second City Musick Baroque Ensemble. Recent and upcoming engagements include the title role in L’Incoronazione di Poppea with Haymarket Opera, and solo performances with the Newberry Consort, Incantare and Ars Lyrica. Ms. Schuller is the director of Cantabile School of Voice and Piano in Chicago and teaches voice with the University of Chicago.

Mezzo-soprano AMANDA CRIDER has been recognized for her “gleaming vocalism” (Boston Globe), “star acting” (Urban Milwaukee), and “superbly clear diction and warmly burnished timbre” (South Florida Classical Review). A busy soloist and recitalist, Crider appears regularly with Apollo’s Fire, Seraphic Fire, the Bach Festival Society of Florida, the International Contemporary Ensemble; the Symphony Orchestras of Helena, Eugene, Savannah, Charlotte, Syracuse,

Soloist Profiles

Charleston, Amarillo, Southwest Michigan, and Jacksonville; and Philharmonic Orchestras of Louisiana, Carnegie Mellon, and Greeley. Crider created the role of Alma in Keeril Makan and Jay Scheib’s  Persona for its world premiere with the Beth Morrison Projects and later at LA Opera, receiving rave reviews from The New York Times. In 2022-23, Amanda will perform the roles of second lady in The Magic Flute with Orlando Opera and Isolier in Le comte Ory with Opera Southwest.

With her “rich, smooth mezzo soprano” (St. Louis Post), KIM LEEDS engages audiences in her exploration of life’s essence through music. She has appeared as a soloist with Bach Akademie Charlotte, Ad Astra Musical Festival, Back Bay Chorale, American Bach Soloists Academy, Handel Society of Dartmouth, Chicago Master Singers, Blue Heron, Cantata Collective, Les Délices, True Concord, Bach Society of St. Louis, Tafelmusik, and the Oregon Bach Festival Discovery Series. As a choral artist, Ms. Leeds has performed with the Weimar Bach Academy, Junges Stuttgart Bach Ensemble, Handel and Haydn Society, Grammy-nominated ensembles Clarion and Seraphic Fire, as well as Grammy-winning ensemble The Crossing. In recent years, Ms. Leeds has garnered multiple accolades including winning the Tafelmusik Vocal Competition in 2016, attending the Carmel Bach Festival as a Virginia Best Adams Fellow in 2017, and working with Philippe Herreweghe as a Britten-Pears Young Artist in their 2019 Bach Cantatas program.

A member of the twice GRAMMY-nominated classical a cappella vocal quartet New York Polyphony since 2011, tenor STEVEN CALDICOTT WILSON is thrilled to be making his debut with Apollo’s Fire in 2022, appearing in both Monteverdi’s Vespers of 1610 and Handel’s Messiah. He was an inaugural member of The Leonids in Vancouver May 2022, where he will return in 2023, and will return to engagements with Schola Antiqua in Chicago and Milwaukee in 2022. Past solo appearances include Carnegie Hall; Alice Tully Hall; Symphony Hall Boston; multiple Evangelist roles and Bach cantata recitals with Trinity Baroque Orchestra in New York; Chatham Baroque; and TENET Vocal Artists. A native of Virginia, Steven is an enlisted veteran of the United States Air Force Band Singing Sergeants (2001-2005) and a graduate of Ithaca College and the Yale School of Music. He is based in Chicago.

Described by Opera News as “accomplished, stylistically informed,” and “sonorous,” baritone  EDWARD VOGEL possesses a diverse repertoire spanning over ten centuries. He has appeared as a soloist with Grammy-winning Apollo’s Fire, True Concord Voices and Orchestra, the Yale Philharmonia, and Juilliard415, as well as at the Tanglewood and Aldeburgh festivals. An avid and in-demand ensemble singer, Mr. Vogel has performed with Theatre of Voices, Bach Collegium Japan, and the Yale Schola Cantorum, with whom he has participated in recordings on the Hyperion label; and regularly works with many of America’s finest professional ensembles. As a recitalist, his specialties include British art song of the twentieth century and music from Medieval and Renaissance Iberia. Mr. Vogel is a graduate of the University of Notre Dame, and the Yale School of Music and Institute of Sacred Music’s Voxtet program for early music, oratorio, and art song, where he studied with James Taylor.

DRIve tHe COLD WI nteR awaY

A Baroque-Folk Jam Session

Cold winter days are for food, feasting, and music! Apollo’s Fire favorite musicians Brian Kay and Tina Bergmann invite you to warm your spirit in this cozy program. Old English carols and ballads meet Irish and Appalachian folk dances in a 70-minute jam session.

Saturday, January 7, 8:00pm – BLU Jazz+, AKRON Sunday, January 8, 12:30pm – Music Box Supper Club

Handel's

–THE NEW YORK TIMES

GRAMMY®-winning conductor Jeannette Sorrell is recognized internationally as one of today’s most compelling interpreters of Baroque and Classical repertoire. She is the subject of the 2019 documentary by Oscar-winning director Allan Miller, titled PLAYING WITH FIRE: Jeannette Sorrell and the Mysteries of Conducting. Sorrell studied conducting at the Aspen and the Tanglewood music festivals under Leonard Bernstein and Roger Norrington and harpsichord with Gustav Leonhardt in Amsterdam. She won First Prize in the Spivey International Harpsichord Competition, competing against over 70 harpsichordists from Europe, Israel, the U.S., and the Soviet Union.

Sorrell made her New York Philharmonic conducting debut to rave reviews in 2021. She has repeatedly conducted the Pittsburgh Symphony, St. Paul Chamber Orchestra, Seattle Symphony, Utah Symphony, Florida Orchestra, and New World Symphony, and has also led the Royal Liverpool Philharmonic (Bach’s St. John Passion), the National Symphony at the Kennedy Center, Los Angeles Chamber Orchestra, Opera St. Louis with the St. Louis Symphony, Calgary Philharmonic, Grand Rapids Symphony, and Philharmonia Baroque in San Francisco, among others. This season she returns to Philharmonia Baroque and the Seattle Symphony, and makes her debut with the Philadelphia Orchestra (Handel's Messiah) and the Orquesta Sinfónica de Castilla y Léon (Spain).

As founder and conductor of APOLLO’S FIRE, she has led the renowned ensemble at London’s BBC Proms, Carnegie Hall, and many international venues. Sorrell and Apollo’s Fire have released 30 commercial CDs, including 11 bestsellers on the Billboard classical chart and a 2019 GRAMMY® winner. Her CD recordings of the Bach St. John Passion and Vivaldi’s Four Seasons have been chosen as best in the field by the Sunday Times of London (2020 and 2021). Her Monteverdi Vespers recording was chosen by BBC Music Magazine as one of “30 Must-Have Recordings for Our Lifetime” (September 2022).

With over 11 million views of her YouTube videos, Sorrell has attracted national attention and awards for creative programming, using contextual and dramatic elements. She received an honorary doctorate from Case Western Reserve University and an award from the American Musicological Society.

“A resplendent performance… breathtaking. The production belonged entirely to Ms. Sorrell.”

Apollo's FIre Windy City Series

HELLO CHICAGO!

A Message from the Chicago Friends of Apollo’s Fire

What an exciting year it has been for Apollo’s Fire in Chicago! As we launched Season 2 of the Windy City Series this fall, we were thrilled to perform the stunning Monteverdi Vespers in October to a packed crowd at Northwestern University’s Alice Millar Chapel.

The series continues on March 11-12, when Chicagoland will experience the creative, .multicultural programming that has enabled AF to attract so many newcomers to classical music. Jeannette Sorrell’s new program, “EXILE & RESILIENCE: Music of the Jewish & African Diasporas” is full of resonance for our time.

Did you know that Apollo’s Fire is deeply committed to bringing classical music to new audiences, and creating a more diverse pool of music-lovers in the next generation? Students can attend our Chicago concerts with FREE Student Rush tickets, or $10 for reserved seats.

Our “Side by Side” string program in Matteson, IL, launched a year ago, has over 60 children participating! Five days per week, our team of 8 teaching artists are in the schools in Matteson –teaching children to play string instruments and helping them discover a love of classical music.

How can you become involved? With a gift of $100 or more, you can join the Chicago Friends of Apollo’s Fire. As a member of the Friends, you receive:

• Invitations to Apollo’s Fire Soirées (house concerts) – delightful, intimate evenings with music, food and drink, and conversation. Get to know some of the AF musicians up close!

• 2 Bring-a-Friend coupons to each Apollo’s Fire concert on our Windy City Series. Introducing your friends to this GRAMMY®-winning period ensemble is one of the best ways to help us!

Many of you have asked us to expand our Chicago series in the 2023-24 Season, but ticket sales alone do not cover the costs. Will you help us meet our goal of raising $20,000 by December 31, 2022 in order to expand the series next season? A generous Chicago Friends of Apollo’s Fire donor has helped us get

halfway to our goal with a gift of $10,000. Can you help double that gift? Every gift helps, large or small! There are 2 easy ways to donate:

• By check: use the enclosed envelope (please indicate “Chicago” on your check)

• Online: donate at apollosfire.org/support/ Please select "Chicago Friends of Apollo's Fire" in the drop-down menu so that we can steer your gift to our Chicago activities.

For more information on how to get involved, please contact Judy Bundra, Managing Director of AF’s Chicago Series, at jbundra@apollosfire.org.

Gratefully, Katrina Pipasts, President Judy Bundra, Managing Director Chicago Friends of Apollo’s Fire Apollo’s Fire Windy City Series

We are grateful for the support of our partner organizations in Chicago. Please see the following pages for information on their concerts.

Music of the Baroque

University of Chicago Presents Ravinia Festival

Third Coast Baroque Chicago Symphony Orchestra

Thank you also to these Chicago institutions who have helped to make the Windy City Series a success.

The Paul M. Angell Family Foundation WFMT Radio

First Presbyterian Church of Evanston Music Institute of Chicago Chicago Classical Review Northwestern University

CHICAGO FRIENDS OF APOLLO’S FIRE BOARD OF DIRECTORS

Katrina Pipasts, President

Elisa Ross, Vice-President Chuck Bittenbender

Blondean Davis, Ed.D.

Jonathan Ross, M.D. Jeffrey Strauss

Phillip Rowland-Seymour

James C. Sheinin, M.D. Jeannette Sorrell, ex officio

Judy Bundra, ex officio

Apollo's FIre Windy City Series

THE APOLLO'S FIRE

Sparks of Joy in a Fragmented

Whether you are in Northeast Ohio, Greater Chicago, or around the world... available on the Worldwide Watch-at-Home series. Indulge your

CONCERT-VIDEO NOW AVAILABLE!

Monteverdi

Vespers of 1610

The sensuous allure of the East and the structure of the West. They met in Venice in 1610 – and the splendor resounded. Jeannette Sorrell leads chorus, strings, brass, lutes, and soloists in Monteverdi’s sumptuous masterpiece.

OHIO NOV. 10-13

Storms & Tempests

The wild power of nature inspires this program of orchestral showpieces, including Vivaldi’s Tempesta di Mare (Storm at Sea) concerto featuring violinist Alan Choo; Marais’ tempest scene from Alcione; and gorgeous arias sung by Amanda Forsythe.

OHIO DEC. 6-8 & 10-11 | CHICAGO DEC. 9 In-Person or At-Home

Handel’s M ess I ah

Sound the trumpet! Jeannette Sorrell, soloists, and chorus present their nationally acclaimed interpretation of Messiah. The singers become musical storytellers, bringing spirituality and theatricality to Handel’s richly layered masterpiece.

OHIO FEB. 2-5

M use of Fire

A profound spirituality inspired many 17th-century composers to scale the heights of virtuosity. Alan Choo and 7 friends continue their exploration of Biber’s stunning Sonatas on the Mysteries of the Rosary alongside sacred vocal works.

The appearance of Cameron Carpenter in The Sorcerer’s Apprentice & Saint-Saëns Organ Symphony is made possible by the Grainger Fund for Excellence.

Chicago Symphony Orchestra Brass is generously sponsored by the Schmidt Family Fund. Chicago Symphony Orchestra Brass is presented in collaboration with the Midwest Clinic, an International Band and Orchestra Conference.

Harry Potter and the Sorcerer’s Stone™ in Concert is part of the CSO at the Movies series, which is generously sponsored by Megan and Steve Shebik.

The appearance of the Chicago Symphony Chorus in Merry, Merry Chicago! has been made possible by a generous gift from The Grainger Foundation.

The Sorcerer’s Apprentice & Saint-Saëns Organ Symphony

Merry, Merry Chicago!

Apollo's Fire

VIOLIN

Olivier Brault, principal guest concertmaster

Alan Choo, concertmaster

Susanna Perry Gilmore, associate concertmaster

Emi Tanabe, principal

Chiara Fasani Stauffer

Chloe Fedor

Holly Piccoli

VIOLA

Nicole Divall, principal Evan Few

CELLO

René Schiffer, principal Kivie Cahn-Lipman

CONTRABASS

Sue Yelanjian, principal

OBOE

Debra Nagy, principal

Kathryn Montoya

BASSOON

Stephanie Corwin

TRUMPET

Steven Marquardt

Perry Sutton

TIMPANI

Matthew Bassett (12/7-9) Luke Rinderknecht (12/6, 10-11)

HARPSICHORD

Peter Bennett Jeannette Sorrell ORGAN Peter Bennett

Apollo's Singers

SOPRANO

Julie Bosworth

Ashlee Foreman*

Kia Frank

Elora Kares**

Alissa Magee

Madelaine Matej MacQueen

Andréa Walker

ALTO

Leslie Frye

Kim Leeds

John McElliott

Joe Schlesinger

Jay White

TENOR

Jeff Barnett Harry Castle Bradley King Mark Laseter

Brian Wentzel

BASS

Ian Crane

Daniel Fridley

Anthony Gault Christopher Talbot

Anne Wilson, rehearsal accompanist

*MOSAIC Artist Fellow

**Young Artist Apprentice

Community Access Initiative

Share the Music. Share the Love.

Each year, the Community Access Initiative serves 3000+ youth and adults in Northeast Ohio – through Presto Seats, free student tickets, and outreach programming.

• Free Family Concerts: October 2022 – Sing for Joy! February 2023 – Musical Rainbows

• Baroque Bistros: casual concerts at trendy restaurants: January 2022: Drive the Cold Winter Away (for more details, see pg. 21)

• NEW I �� Music Educational Video Series for Grades K-2 (for information please visit, apollosfire.org/i-love-music/)

• $12 Presto Seats*

• Family Nights at AF (free tickets for families from selected public schools)

• Free Student Rush Tickets

Apollo’s Fire thanks the Cleveland Foundation, the George Gund Foundation, and Peg’s Foundation for supporting the Community Access Initiative and helping AF lead the way in innovative arts outreach.

Interested in bringing Apollo’s Fire’s education programming to your school? Contact Nichole Fehrman, Director of Marketing & Community Engagement at 216.320.0012 x 4, or nfehrman@apollosfire.org

*Presto Seats go on sale beginning three weeks prior to each concert – ORDER EARLY! Tickets may only be purchased by calling the Box Office at 216.320.0012 x 1. Patrons are limited to two (2) In-Person Presto Seats or one (1) Presto Seat link per event. All sales are final, and Presto Seats may not be exchanged.

Apollo's Fire Baroque Orchestra

“Sorrell and her dazzling period band… are incandescent”

– THE SUNDAY TIMES, London

Named for the classical god of music and the sun, Apollo’s Fire is a GRAMMY®-winning ensemble. Founded by award-winning harpsichordist and conductor Jeannette Sorrell, the period band is dedicated to the baroque ideal that music should evoke the various Affekts or passions in the listeners. The Apollo’s Fire musicians are creative artists who share Sorrell’s passion for drama and rhetoric.

Apollo’s Fire has performed five European tours, with sold-out concerts at the BBC Proms in London, Madrid’s Royal Theatre, Bordeaux’s Grand Théàtre de l’Opéra, the National Concert Hall of Ireland, and venues in France, Italy, Austria, and Portugal.

Chosen by the DAILY TELEGRAPH as one of London’s “Best 5 Classical Concerts of the Year,” Apollo’s Fire’s 2014 London performance was praised for “superlative music-making... combining European stylishness with American entrepreneurialism.” North American tour engagements include Carnegie Hall (twice), the Tanglewood and Ravinia festivals (3 times), the Boston Early Music Festival series, the Aspen Music Festival, Library of Congress, the National Gallery of Art, the Metropolitan Museum of Art in New York City, and major venues in Toronto, Los Angeles, and San Francisco. Most of these concerts have been sold out. In 2021, Apollo’s Singers made their debut with the New York Philharmonic under the baton of Jeannette Sorrell, winning rave reviews.

At home in Cleveland, Apollo’s Fire enjoys sold-out performances at its series, which has drawn national attention for creative programming.

With over 11 million views of its YouTube videos, Apollo’s Fire has released 30 commercial CDs and won a GRAMMY® award in 2019 for the album Songs of Orpheus with tenor Karim Sulayman. Eleven of the ensemble's CD releases have become best-sellers on the classical Billboard chart, including Vivaldi’s Four Seasons, Monteverdi Vespers, Bach's Brandenburg Concertos, and Sorrell’s crossover programs including Sacrum Mysterium – A Celtic Christmas Vespers; Sugarloaf Mountain – An Appalachian Gathering; Sephardic Journey – Wanderings of the Spanish Jews; and Christmas on Sugarloaf Mountain.

Musician Profiles

OLIVIER BRAULT, principal guest concertmaster, has an international career spanning over thirty years as a chamber musician, soloist, concertmaster, and artistic director. With a Doctorate in French music for violin and basso continuo, he teaches baroque violin at McGill University and is invited by major institutions abroad to give masterclasses. He has participated in more than 70 recordings and has received the medal of the Assemblée Nationale du Québec for his contribution to the culture of his nation.

ALAN CHOO, concertmaster, “was a dynamo, delivering lines with panache. He exemplified virtuosity” (Cleveland Plain Dealer). He is Concertmaster and Assistant Artistic Director of Apollo's Fire, and made his concerto debut with the ensemble at the Tanglewood and Ravinia Music Festivals in 2017. He is also Founder and Artistic Director of Red Dot Baroque, Singapore's first professional baroque orchestra and Ensemble-in-Residence at the Yong Siew Toh Conservatory. Alan holds a Doctorate in historical performance from CWRU.

SUSANNA PERRY GILMORE, associate concertmaster, enjoys a multifaceted career as a solo artist, chamber musician, and orchestral leader. Performing on both modern and period instruments and in diverse styles, she has been a frequent soloist and principal with Apollo’s Fire since 2014 and is the fiddler on their best-selling recordings Sugarloaf Mountain and Sephardic Journey. She resides in Omaha, where she is the concertmaster of the Omaha Symphony. She holds degrees from Oxford University and New England Conservatory.

MATTHEW BASSETT, timpani, has performed with Apollo’s Fire since 1993. He holds a Bachelor’s degree from CIM and a Master’s degree from Cleveland State University. Currently, he is principal timpanist with the Buffalo Philharmonic Orchestra. In addition to performing, he maintains a busy schedule teaching privately, conducting, and repairing percussion equipment.

PETER BENNETT, harpsichord & organ, is Head of Historical Performance Practice at CWRU, and Head of Harpsichord at CIM. As a keyboard player and director, he has

appeared in the UK and Europe, recording and broadcasting to critical acclaim with Ensemble Dumont, and as a scholar has published widely on music in early-modern France. His latest book, Sounding the Liturgy in Early Modern France: Music and Power at the Court of Louis XIII was published by Cambridge University Press in 2021.

KIVIE CAHN-LIPMAN, cello, is the founder of baroque string band ACRONYM and Scottish HiP ensemble Makaris, and a founding gambist and co-director of viol consorts LeStrange and Science Ficta. His more than fifty recordings on over a dozen labels include the complete cello suites of J.S. Bach, which have been praised for their “eloquent performances,” “fresh thinking,” and “energy and zeal” (The Strad ). He is an Associate Professor of Cello at Youngstown State University.

STEPHANIE CORWIN, bassoon, enjoys performing music of the past four centuries on modern and historical bassoons. Her vocation has taken her throughout America and abroad, satisfying her love for travel and her desire for connecting with people on and off the stage. Highlights include solo appearances at Lincoln Center and Carnegie Hall, performances at the Yellow Barn and Staunton festivals, and concerts with Philharmonia, Tafelmusik, and Handel and Haydn Society. She teaches baroque bassoon at the Curtis Institute of Music.

NICOLE DIVALL , viola, was a core member of the Australian Chamber Orchestra from 2005 to 2020. She has held the position of Principal Viola with the Ohio Chamber Orchestra, Cleveland Chamber Symphony, Cleveland-San Jose Ballet, Cleveland Opera, and Sydney Philharmonia. She has appeared as Guest Principal with the Sydney Symphony Orchestra, Australian Chamber Orchestra, and most recently, Handel & Haydn Society and Albany Symphony. She is currently Principal Viola of Apollo’s Fire and a core member of Four Nations Ensemble.

CHLOE FEDOR , violin, is known for her “lovely, plush, seductive tone” (New York Times), “soulful, virtuosic” playing and “impeccable technical control” (Opera News). She is co-concertmaster of Lyra Baroque Orchestra, concertmaster/artistic advisor of

Musician Profiles

Baroque programming at Lakes Area Music Festival, and a core member of Apollo’s Fire. She also appears with Carmel Bach Festival, The English Concert, Handel and Haydn Society, Philharmonia Baroque Orchestra, Tafelmusik and Trinity Wall-Street Baroque Orchestra. Chloe was featured on Broadway in Farinelli and the King. EVAN FEW, viola, has performed on stages across the globe with some of its most esteemed early music ensembles, including Anima Eterna Brugge, Bach Collegium Japan, and the Taverner Consort. An assertive, collaborative instrumentalist, Evan is equally adept as director, soloist, and ensemble player. He is Artistic Administrator and Associate Concertmaster of Atlanta Baroque, core member of the Carmel Bach Festival, and co-founder of Filament. He lives in Philadelphia and is a devoted home cook and yogi.

STEVEN MARQUARDT, trumpet, is a baroque trumpet and natural horn specialist based in New York. He performs regularly with Trinity Wall Street, Apollo's Fire, Bach Vespers at Holy Trinity, The Sebastians, New York Baroque Incorporated, and American Classical Orchestra, and has made appearances with Tafelmusik, Philharmonia Baroque, Boston Early Music Festival, Portland Baroque, and The English Concert. He also serves as Director of Concert Services at Gotham Early Music Scene. He holds degrees from Indiana University and Concordia College-Moorhead.

KATHRYN MONTOYA, oboe, appears with a variety of orchestral and chamber music ensembles including the Boston Early Music Festival Orchestra, Tafelmusik, Bach Collegium San Diego, and Handel & Haydn Society. She teaches at Oberlin Conservatory and has been on faculty at numerous workshops, training programs, and masterclasses. She enjoys a varied musical career including performing on the GRAMMY award-winning recording of Charpentier with BEMF, the Globe’s Tony award-winning Twelfth Night, and filling in on recorder with the Los Angeles Philharmonic.

DEBRA NAGY, oboe, is recognized as “a baroque oboist of consummate taste and expressivity” (Cleveland Plain Dealer). She has acquired a reputation for creating fascinating and inviting concert experiences

as Artistic Director of Les Délices, and plays principal oboe with the Handel & Haydn Society, Apollo’s Fire, and other ensembles nationwide. She was awarded a 2022 Cleveland Arts Prize (Mid-Career Artist) and honored with the 2022 Laurette Goldberg Prize from Early Music America for her outreach work with Les Délices.

HOLLY PICCOLI, violin, studied modern and baroque violin at the Yale School of Music. Enjoying a diverse career, she has toured nationally and internationally with groups such as Apollo’s Fire, the Australian Chamber Orchestra, Trinity Baroque Orchestra, and the Australian Romantic and Classical Orchestra. She has held leadership positions with the Omaha Symphony and Adelaide Symphony. When not traveling for work, she loves being home, exploring new places with her husband Kyle and hiking together with their dog Sally.

LUKE RINDERKNECHT, timpani, trained with Matthew Bassett before earning multiple degrees from Juilliard. From Lorin Maazel’s production of Britten’s Turn of the Screw, to appearances with Metropolis Ensemble, Alarm Will Sound, and The Knights, he has gravitated towards chamber orchestras. He is principal timpanist and solo percussionist for CityMusic Cleveland and performs chamber music with Blue Streak Ensemble, Ars Futura, and No Exit New Music Ensemble. He teaches at Bowdoin International Music Festival, Cleveland State University, and CIM’s Academy.

RENÉ SCHIFFER, principal cello, is praised for this "interpretive imagination and patrician command of the cello" (Cleveland Plain Dealer). A native of Holland, he was a protégé of Anner Bylsma and toured internationally with Sigiswald Kuijken's La Petite Bands for 16 years. He has also performed and recorded with the Amsterdam Baroque Orchestra and in over 50 projects with Tafelmusik. As a concerto soloist, he has performed at Carnegie Hall and many international venues. He can be heard on over 40 CD recordings across 6 labels.

CHIARA FASANI STAUFFER , violin, has been praised for her “sweet” and “sparkling” sound (ClevelandClassical.com). She is the artistic director and co-founder of Time Canvas. This season she is performing

with groups including TENET, Tempesta di Mare, Chatham Baroque, Teatro Nuovo, and Trinity Wall Street. She holds degrees from the Juilliard School in New York and the Basel Hochschule für Musik in Switzerland, and she is an American Fellow of the English Concert.

PERRY SUTTON, trumpet, leads a musically diverse life, performing in baroque, orchestral, chamber, Broadway, and commercial music settings with equal dexterity. Early music credits include performances with Apollo's Fire, Trinity Baroque, and Tempesta di Mare. He has degrees from Mason Gross School of the Arts: Rutgers University, and Rowan University College of Fine and Performing Arts. During the times he leaves the trumpet in the case, he enjoys seeking out local craft beer, coffee, and tinkering with his golf game.

EMI TANABE , violin, enjoys a multifaceted career as a baroque violinist and a solo crossover artist. In addition to her work with

Handel's Messiah

Apollo's Fire, she performs with Haymarket Opera and Third Coast Baroque. Her facility with improvisation has led to many solo performances with world music, Latin, and jazz ensembles across the country, including the renowned Surabhi Ensemble, children’s music band Wendy&DB, and Teatro ZinZanni. She holds degrees in violin performance from the University of North Texas and Roosevelt University.

SUE YELANJIAN, contrabass, is now in her 30th season with Apollo’s Fire and has performed with many of the leading North American Baroque orchestras, including Tafelmusik, Handel & Haydn Society, Bach Akademie Charlotte, Chatham Baroque, and Indianapolis Baroque. She has performed at many summer festivals including Tanglewood, Ravinia, The Aspen Music Festival as well as the Sturm und Drang Festival in Germany. She attended Oberlin Conservatory and received degrees from CIM and Boston University.

Chorister Profiles

JEFF BARNETT, tenor, has performed an array of repertoire for lyric tenor; his favorite is the evangelist from Bach’s Johannes-Passion. He is a frequent recitalist in programs focusing primarily on the songs of Schubert, Schumann, Vaughan Williams, and Britten. As a collaborative singer, he has performed with Philharmonia Baroque, the Dale Waland Singers, Emmanuel Music of Boston, and Apollo’s Fire.

JULIE BOSWORTH, soprano, is increasingly recognized as a versatile and captivating collaborator across an array of musical genres. She regularly performs with the American Bach Soloists, Tempesta di Mare, the Baltimore Symphony Orchestra, IN Series Opera, The Bach Choir of Bethlehem, Mountainside Baroque, Handel Choir of Baltimore, True Concord, The Broken Consort, The Thirteen, The Peabody Consort, Hesperus, and Kinnara.

HARRY CASTLE, tenor, is an Ann Arborbased vocalist, composer, and music director. Originally from the United Kingdom, he is completing his Doctorate in composition at the University of Michigan. He has performed as a soloist and chorister on four continents with the Choir of Clare College, Cambridge, and Yale Schola Cantorum, amongst others.

IAN CRANE, bass, has performed with Apollo’s Fire since 2005. In 2018 he toured Britain and Ireland as part of the popular Sugarloaf Mountain crossover series. He is a founding member of Quire Cleveland and, in the summer of 2021, he co-founded the Cleveland Celtic Ensemble where he performs as a piper and vocalist

ASHLEE FOREMAN, soprano, is from Akron, Ohio, and has studied voice with the late Dr. A. Grace Lee Mims, Amanda Powell, and Noriko Paukert. She has also received African American Spiritual performance scholarships named for the late A. Grace Lee Mims. While an undergraduate student, she served as AF’s first Artistic Outreach Intern, and joined Apollo’s Singers in 2020.

KIA MARIE FRANK, soprano, received a Master’s in early music from Indiana University. She has performed with Apollo’s Fire and at the Baldwin Wallace Bach Festival, debuted new works, and worked as a recording artist. She also writes and

performs indie-pop music regularly. She will be featured in a performance of John Rutter’s Requiem in the spring of 2023.

DANIEL FRIDLEY, bass, recently received his Doctorate in historical performance practice from CWRU. Recent performance credits include bass soloist in J.S. Bach’s Johannes-Passion with the Schola Cantorum Boston; bass soloist in Monteverdi’s Vespro della Beata Virgine with the Harvard-Radcliffe Collegium Musicum; and Basilio in Rossini’s Il barbiere di Siviglia with Teatro Nuovo.

LESLIE FRYE, mezzo-soprano, has been performing and recording with Apollo’s Fire for ten years. She has sung with the New York Philharmonic, Quire Cleveland, Gaudium, and The Publick Musick. Her versatile path includes projects with Max von Egmond, Bobby McFerrin, and Richard Miller. An accomplished pianist and passionate educator, she devotes much of her career to her students.

ANTHONY GAULT, baritone, has degrees in vocal performance and choral conducting from Temple University and the University of Miami, and a Master’s of Education from Vanderbilt University. He has performed, toured, and recorded with Apollo’s Singers since 2011, and is based in Philadelphia where he currently serves as a staff singer at the Lutheran Church of the Holy Communion.

ELORA KARES, soprano, is a Young Artist Apprentice with Apollo’s Fire. Passionate about baroque music, she is a homeschool high school junior and a scholarship student in voice, cello, and composition at the CIM Academy. She has been featured on NPR’s national young artist showcase, From the Top, and has performed as soloist in Apollo’s Fire’s Lift Ev’ry Voice concerts.

BRADLEY KING, tenor, is emerging as one of the most versatile young singers on the East coast. He has performed with ensembles including the Boston Early Music Festival, the Rose Ensemble, and the renowned renaissance ensemble Pomerium, and was featured in AF’s Road to Dublin concerts in 2022. He holds degrees from DePauw University and the University of North Texas.

MARK LASETER, tenor, serves as Director of Vocal Studies at Notre Dame College in South Euclid, Ohio. Recent engagements include projects with Seraphic Fire, the

Portland Bach Experience, True Concord Voices and Orchestra, Kinnara, The Crossing, and first prize in the 2021 Audrey Rooney Vocal Competition. He holds degrees from Westminster Choir College and the University of Notre Dame.

MADELAINE MATEJ MacQUEEN, soprano, specializes in early music, nineteenth-century music, and new music. She joined Apollo’s Fire in 2020 and earned her PhD in musicology from CWRU in May of 2022. She plans to work in policy research and development at Cleveland-area nonprofits while raising her family, returning to a full performing schedule when her babies grow up.

ALISSA MAGEE, soprano, is in her first year of studies in the historical performance practice Doctorate program at CWRU. A new Cleveland transplant, she recently completed studies in early music at the Eastman School of Music in Rochester, New York, where she studied with her current teacher, Ellen Hargis.

JOHN McELLIOTT, countertenor, sings with several choral ensembles in Northeast Ohio, and is president of Karen McFarlane Artists, Inc., where he manages concert bookings for many of the world’s premier concert organists and choirs. He holds degrees in organ and vocal performance from the University of Akron and was a choral scholar at Winchester Cathedral in the United Kingdom.

JOE SCHLESINGER, countertenor, attended Augustana College and DePaul University. He received a Netherlands-America Foundation Fulbright Fellowship to study in the Netherlands where he sang with the Netherlands Opera and the Dutch

Reisopera. He performs with Quire Cleveland, Music of the Baroque in Chicago, Seattle ProMusica, Vox Regis, and Madison Bach Musicians. He enjoys traveling with his husband and three sons.

CHRISTOPHER TALBOT, bass-baritone, is a soloist and ensemble singer hailed for his “voice of warmth and strength” (Classical Review). A native of Massachusetts, he received a Master’s in vocal performance from the Yale Institute of Sacred Music, and currently lives in Philadelphia with his wife and two cats.

ANDRÉA WALKER, soprano, is pursuing a Doctorate in historical performance practice at CWRU. She recently graduated with a Master’s in vocal performance from the Yale Institute of Sacred Music where she studied early music, oratorio, and art song. She is thrilled to be making her solo debut with Apollo’s Fire and CityMusic Cleveland this 2022-2023 season.

BRIAN WENTZEL, tenor, is a singer, keyboardist, and composer. He has degrees in organ performance, sacred music, and mathematics, and is a Fellow of the American Guild of Organists. When he is not making music, he works as the Business Manager for the Lake Erie Crushers, a minor league baseball team.

JAY WHITE, countertenor, sang eight seasons with Chanticleer, garnering two GRAMMY Awards with them. As a professional chorister, he has sung throughout the world in numerous ensembles and genres. Currently, he is a Professor of Voice at Kent State University where he teaches music education, vocal performance, and musical theatre majors.

Handel's Messiah

Apollo’s Fire Education Corner

Apollo’s Fire has deeply touched and transformed the lives of many young people through its unique and vibrant education programs for over a dozen years. The hallmark of AF’s educational programs is the close interaction between professional musicians and students to garner the intimacy of the artistic learning experience.

Apollo’s

Musettes

Ensemble – Treble Youth Choir

“Singing with Apollo’s Fire has altered my life as a musician – permanently! It has inspired my love and passion for baroque music.” – Michael Temesi Talented young singers ages 11-17 are chosen by audition for their clear, pure voices and outstanding musicianship. The ensemble performs in programs where children's voices are appropriate for the repertoire.

Since its founding in 2005, the Musettes Ensemble has performed in over 35 concerts with Apollo’s Fire, including Praetorius’ Christmas Vespers, Purcell’s Dido & Aeneas, Vivaldi’s Gloria, Bach’s Christmas Oratorio, Christmas on Sugarloaf Mountain, and Lift Ev'ry Voice. The Musettes appear on AF’s acclaimed CD recordings of the Christmas Vespers by Michael Praetorius and Sugarloaf Christmas. They have been heard across the country on national radio broadcasts of that program. The Praetorius album attracted glowing reviews from the NEW YORK TIMES and GRAMOPHONE, both commenting on the “delightful” homespun charm of the children’s voices. Recent highlights have included a performance on tour with Apollo's Fire at New York City's Metropolitan Museum of Art and summer 2022 performances of Lift Ev'ry Voice.

“An unseen part of the extraordinary work that Jeannette Sorrell is doing with Apollo’s Fire – the mentoring of young people through music.” – ClevelandClassical.com

School Workshops & Performances

Apollo’s Fire collaborates with music teachers around NE Ohio and on tour to present workshops, masterclasses, and other enriching activities for students.

At the elementary level, AF offers interactive in-school workshops designed to foster a love of music. AF has served districts including Cleveland Municipal School District, Cleveland Heights-University Heights, Akron Public Schools, Rocky River, Nordonia, and South Euclid-Lyndhurst with these workshops since 2018.

On the national level, Jeannette Sorrell and AF principal players have coached high school and college students while on tour at universities, high schools, and festivals around the country. Jeannette Sorrell and AF principal cellist René Schiffer have also done extensive baroque coaching of the young professional players of the renowned New World Symphony in Miami – the nation’s premiere orchestral academy.

I ♥ Music – The Apollo’s Fire Discovery Series

In 2020 Apollo's Fire launched a FREE educational series designed for young learners (ages 5-8)! If you are a teacher or parent interested in using this interactive series, now comprised of five episodes, visit: apollosfire.org/i-love-music/

“SIDE BY SIDE”

–

Beginning Strings Program in Chicago

Launched in November 2021, the SIDE BY SIDE strings program is a major educational partnership in schools on Chicago's South Side. The program is modeled on the famous youth orchestra of orphan girls led by composer Antonio Vivaldi in the 18th century, and inspired by the El Sistema method. The Apollo's Fire team of teaching artists works weekly with students in four elementary schools and one high school, introducing students to baroque and classical music and inspiring a love of the arts.

Thank you to our Supporters

FOUNDATIONS, GOVERNMENT & OTHER ORGANIZATIONS

Apollo's Fire is grateful to the following funders who have made this season possible:

$100,000 & above

Cuyahoga Arts & Culture

Ohio Arts Council

U.S. Small Business Administration

$50,000 – $99,999

Paul M. Angell Family Foundation

The Cleveland Foundation

$20,000 – $49,999

Anonymous The George Gund Foundation

Conselleria fons Europeus, Institut d'estudias balearics & Fundacion

Maria Paula Alonso de Ruiz Martinez

Horizons Incorporated Kulas Foundation

John P. Murphy Family Foundation

National Endowment of the Arts

Peg’s Foundation

The Reinberger Foundation

The Kelvin & Eleanor Smith Foundation

$10,000 – $19,999

Akron Community Foundation

Ideastream Public Media

Martha Holden Jennings Foundation

Albert G. & Olive H. Schlink Foundation

$5,000 – $9,999

Albrecht Family Foundation

Chengelis Scientific Services LLC

The Mary S. & David C. Corbin Foundation

Mrs. Mary & Dr. George L. Demetros Charitable Trust

Glenmede

The Hershey Foundation

Martha Holden Jennings Foundation

Albert G. & Olive H. Schlink Foundation

Hyster-Yale Materials Handling, Inc.

LRC Realty, Inc.

The O'Connor Hubach Foundation

The Sisler McFawn Foundation Summa Health

$2,000 – $4,999

Anonymous

The Glenn R. & Alice V. Boggess Memorial Foundation

Clark Guilliam Bertsch Wealth Management Cohen Rosenthal & Kramer LLP

Disciples Christian Church Feth Family Foundation

Harry K. & Emma R. Fox Charitable Foundation

The Hankins Foundation

The Richard Horvitz & Erica Hartman Horvitz Foundation

Lehner Family Foundation

The Lubrizol Corporation

Fan Fox and Leslie R. Samuels Foundation Tucker Ellis LLP

The Welty Family Foundation

$1,000 – $1,999

Anonymous Bath Community Fund

Cerity Partners LLC Lloyd L. & Louise K. Smith Foundation McDonald Hopkins LLC Northern Trust

This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

THE RITORNELLO CIRCLE

A ritornello is the recurring theme in a baroque concerto. Likewise, members of the Ritornello Society annually support and sustain the artistic programs of Apollo’s Fire. Their generosity enables us to pursue our vision of attaining international recognition through touring, recordings and broadcasts.

CONDUCTOR’S CIRCLE

($25,000 & above)

Chuck & Christy Bittenbender

Robert Conrad

Thomas J. Froehlich

Marie Rowley

Herb & Jody Wainer

Ann Amer Brennan & The Brennan Family

MOUNT OLYMPUS CIRCLE

($10,000 – $24,999)

Jeff & Jamie Barnett

Fred & Mary Behm

William P. Blair III

Frances S. Buchholzer

The Deveny Family

Ann Fairhurst & Mark Cipra

Michael Frank

Francisco Fullana

Cynthia Knight

Raymond & Susan Labuda

Dr. & Mrs. Richard J. Lederman

Jane & Bernard Lerner

George I. Litman, M.D. Marilyn & Tom McLaughlin

Victoria Romanda

Astri Seidenfeld

Dr. Michael J. Seider

Karen & Richard Spector

Robert A. & Judith M. Weiss

VERSAILLES CIRCLE

($5,000 – $9,999)

Jay Auwerter

Bonnie M. Baker

Homer Chisholm & Gertrude Kalnow Chisholm Fund

Suzanne Ferguson in honor of AF's 30th Anniversary Season

Dave & Binney Fouts

Malcolm & Vivian Henoch

The Hershey Foundation

Lori & Dan Nelson

Bill & Sandra Powel

Mrs. Alfred M. Rankin

David Reimer & Raffaele DiLallo

Phil & Noha Ryder

James & Lenore Schilling

David Schlesinger

Kenneth E. Shafer, M.D. Daniel & Ruth Shoskes

Mary Smith

Richey & Sandra Smith

Ryan Siebel

Carol Yellig David & Judy Young

ESTERHAZY CIRCLE

($2,500 – $4,999)

Anonymous (2)

Ric & Kate Asbeck Mitch & Liz Blair

Tom & Karen Clark

Michael & Susan Clark

Michael & Susan Delahanty

Diane & Michael Ellis Barbara & Denis Feld

Marguerite I. Harkness, CPA

Sam & Kim Hartwell

Byron G. & Elizabeth A. Hays

Tucker Ellis

Peter & Sunnie Hellman

Sarah & Dick Hollington

The Lubrizol Corporation

Robert & Donna Jackson Mark & Jean Koznarek

Meng "Locky" Liu Fred & Pearl Livingstone Annette Lowe & Doug Dolch Stephen & Mary Ann Mahoney Patti & Hadley Morgenstern-Clarren Deb Nash

John & Linda Olejko Glenmede

Mr. & Mrs. Leroy B. Parks, Jr. James Rosenthal & Annie Fullard

Myra Samsa

Spencer H. Seaman Alice S. Sherman

Tim & Jennifer Smucker

Rebecca K. Storey & Neal Simpson

Robert Sondles

Libby & Ed Upton Carol Vandenberg

Gregory Videtic, M.D. Anne & Ed Wardwell Ed & Ellen Weber

MEDICI CIRCLE

($1,000 – $2,499)

Violet Abad Richard & Eleanor Aron Andrew & Patricia Bazar Karl & Amanda Bekeny

Zeda Blau

Richard & Mary Bole Stephen & Jeanne Bucchieri

Mr. & Mrs. William D. Buss II Kathleen Cerveny

Ai-Fen Ivy & Bernie Chen Herb & Ursula Cohrs Bill & Mary Conway Douglas Cooper Harry Core

W. Dean Dabson

David & Adelaide Davies

Rosa & Jacob Dijkstra Keith Eggeman Daniel H. Garland Dr. Chip Gilkeson & Erin Bartman

Fred & Holly Glock Andrew Gordon-Seifert Bob Graf & Mia Zaper Graf Jonathon & Aimee Grimm

Jane Haylor & Mel Berger in memory of Sheldon & Marilyn MacLeod Thomas E. & Marsha G. Hopkins

Herbert J. Hoppe, Jr. Jacqueline Hoyt Mrs. M.B. Humphrey Mark Jones & Linda Johnson John & Linda Kelly Ilona Kisis Ursula Korneitchouk Rodger Kowall

Robert & Katherine Kretschmann

Dr. & Mrs. Adrian & Margaret Krudy

Joan C. Long Rev. Richard Lutz Alfred Magoline Kevin Martin

Daniel McCroskey in memory of Jane McCroskey Hannah Miedel John C. Morley Gary & Shay Olson Edward J. Olszewski Marilyn Orr Lydia Parker Kim Parry Jim & Kathy Pender Keith & Diane Rasey Chuck & Ilana Horowitz Ratner Frank & Yolita Rausche Dr. Robert W. Reynolds

Thank you to our Supporters (continued)

Jane N. Richmond

William Watterson & Melissa Richmond

Alan Rocke & Christine Rom

Mr. & Mrs. Todd Rosenberg

Kasia G. & Douglas Rothenberg

Nan & Peter Ryerson

Frank Shoemaker

Michael Star & Debra Golden

Fred & Betsy Stueber

Anne Unverzagt & Richard Goddard

Mary Warren

Lucy & Chuck Weller

Robert C. & Emily C. Williams

Rick & Jo Ann Young Richard & Mary Zigmond

BRANDENBURG CIRCLE

($500 – $999)

Anonymous

Joan Allgood

Sue Aluzeri

Chace & Josephine Anderson

G.O. Anderson

Patricia Ashton

Cynthia Ball

Dennis & Madeline Block

Caroline Borrow

Erica Brenner & Gary Adams

Doug & Kelly Brill

Louise R. Cook

Wiley Cornell & Rich Marschner

Barbara Ann Davis

Evan Delahanty & Alexandrai Tom

Dr. Doris Donnelly

William & Lynne Dowling

Sue Dreitzler

Dale & Sue Edwards

Yakov & Larissa Elgudin

Debra Franke

Jay & Kim Gaebelein

Peter & Francine Gray

Richard & Ann Gridley

Louise E. Hamel

Sidney Hancock

Martha S. Harding

Barbara Hawley & David Goodman

Bryan Hecht

Richard & Laurette Hershey

Karl & Betty Hess

Fred Heupler, M.D.

Edith F. Hirsch

Martin & Maria Hoke

Derf Hopsecger

Gale & Jim Jacobsohn

Pamela Ann Jacobson

Carole Kass Walter Keith

Thomas Forrest Kelly, Ph.D.

Steve Kidwell

Janet Lowder Kincaid

Michael & Sarah Knoblauch Melodee Kornacker

Ruth H. Laufer Friedman

Jody Lefort & Ken Gober

John D. Mancinelli

Dr. Kandice Marchant

Mason Heath

Robert McInnes

Ellen & Michael Meehan

Catharina Meints Caldwell

Brian F. Murphy

Barbara Nahra

William & Katherine O'Neill in honor of Norm Harbert

Elizabeth Osborne

Jon Pavloff

Dr. & Mrs. Roland Philip

Richard & Joanne Prober

Sally & Derek Rance

Michael & Dawn Rickman Dr. Adrian M. Schnall

Betty & Dave Schneider Dina Schoonmaker

Richard & Marcy Schwarz Rev. Sandra Selby Renetta Shapiro

Paul Siemborski

David & Noreen Somrak Mickey Stefanik

Larry E. Stewart

Terry & Jamie Stoller

Mary Lane Sullivan

Kristina & Albert Susinskas

Ray Thompson

Andre & Gail Thorton Jim & Christine Toole

Donald Treap

Felix & Inna Vilinsky

Mary Echle & Reed Walters

Dickson & Ann Whitney Allen & Lisa Wiant in memory of Jean P. Wiant

Alan Wilde & Stephanie Switzer

Kathleen & David Yonto

Andrea Zadell

Helen L. Zakin

BUCKINGHAM CIRCLE

($250 – $499)

Anonymous (4) Steve & Judy Bundra

Natalie Miahky Atty. LuWayne Annos Robert & Dalia Baker Vicki & Jim Bell

Matthew Bittner

Terry & Christine Bowman

Lisa Boyko

John & Mary Boyle

Tom & Mary Brooks

Glenn & Jenny Brown Doug & Karen Brown

Leslie S. Brown

Nancy E. Brown

Bill & Carol Bruml

James & Judy Burghart

Judy & Bob Ciulla

Kittie Clarke

Hilary Coman

Laura Cotton

Neil & Karen Davies

Anne & Paul Davis

Gary Davis

Patricia Deems

Duesenberg Family Jim & Deb Edwards

Kathryn Eloff

Robert & Marcia Fein

Stanley & Nivia Fisch

Dod & Susan Fraser in honor of Deb Nash & Noha Ryder Susan Landau Golden

Penelope F. Gorsuch

Mary Greathouse

Marcie Groesbeck

Peter & Lee Haas

Susan Hackbart

Mary Louise Hahn

Mohamed & Fadia Hamid

Loraine and David Hammack

Iris & Tom Harvie William C. Hatch

Rob & Kathleen Heyka

Franklin & Kathleen Hickman

Marjorie Johnson

Dr. Larry Parker & Mrs. Jennifer Johnson

Mr. & Mrs. Joseph & Nancy Keithley

Rabbi Roger C. Klein & Jacqi Loewy

Tom & Ginny Knoll

Karen & John Kozsey

Jim & Rhonda Kroeger

Ms. Barbara L. Krouse

Steve & Carolyn Kuerbitz

Donna Lalewicz

Susan Locke

Richard Lynde Karen & Richard Middaugh

Laura & Charles Monroe

Carole & George Morris

Marjorie Moskovitz Don Nash

Douglas and Denise Nash

Charlene & Marv Nevans

David & Pam O'Halloran

David Osage & Claudia Woods

Susan Owen

Sue & Jim Paine

Barbara Peskin

Stephanie Pettinella

Elisabeth C. Plax

Thomas & Maria Prendergast

Donald Rosenberg Jonathan & Elisa Ross

Bryan & Sarah Salisbury

Martin I. Saltzman, M.D.

Summa Health Cal & Camille Schroeck

John & Barbara Schubert Dot Schwende in memory of Joyce Daunch Paul Secunde

Alan & Marjorie Shapiro Dr. & Mrs. James & Rita Sheinin

Richard Shirey

Mr. & Mrs. James Simler Hedy E. Simmons

Mr. & Mrs. William Spatz Madelon Sprague Saundra Stemen

Barbara von Mehren Jim & Chris Wamsley

Mary Wehrle

Barbara Weiss

Lois S. Wolf B. Wynne & P. Cozzens John & Jane Zuzek

Thank you to our donors who gave at levels not listed in this program book. Your contributions enable our success! This list recognizes those who donated as of September 15, 2022. Every effort has been made to ensure its accuracy. Please call 216.320.0012 x 2 with any errors or omissions.

Apollo’s Fire would like to thank the following patrons who generously provide accommodations and transportation for our musicians.

Curt Hancock, General Manager

Michael Walker, Director of Development

Nichole Fehrman, Director of Marketing & Community Engagement

Noha Ryder, Director of Strategic Initiatives

Judy Iwata Bundra, Managing Director, Chicago

Barbara Feld, Director of Development, Summit County

Edward Vogel, Artistic Operations Manager

Loren Reash-Henz, Patron Services Coordinator

Margi Griebling-Haigh, Box Office & Marketing Associate

Melanie Emig, Staff Accountant

Erica Brenner, Director of Media Production

Tom Frattare, Production Stage Manager

Martins Daukss, Stage Manager

Lisl Wangermann, Development Assistant 3091 Mayfield Road, Suite 217 | Cleveland Heights, OH 44118 216.320.0012 | 800.314.2535 | apollosfire.org

Apollo’s Fire INNKEEPERSNow Accepting NEW Volunteers!

If you live in an east-side suburb of Cleveland, we would be grateful to add you to our list of “Innkeepers.” Many of our host families have formed long and close friendships with their AF “adopted family members.” This is a unique, enjoyable, and exciting way to get to know our Artists outside of the concert hall! Proof of vaccine required for all members of the household and Apollo's Fire musicians staying with hosts.

For more information, please contact Artistic Operations Manager Edward Vogel at 216.320.0012 x 7, or evogel@apollosfire.org.

Muse of Fire

A profound spirituality inspired many 17th-century composers to scale the heights of virtuosity. Alan Choo and 7 friends continue their exploration of Biber’s stunning Sonatas on the Mysteries of the Rosary alongside sacred vocal works. From a celebratory party dance for the Assumption of the Virgin Mary to a fencing match... the fire was always burning in the passionate music of composers such as Bruhns, Buxtehude and Schmelzer.

Thursday, February 2, 7:30pm

First United Methodist Church, AKRON Friday, February 3, 7:30pm

St. Paul’s Episcopal Church, CLEV. HTS. Saturday, February 4, 8:00pm

St. Paul’s Episcopal Church, CLEV. HTS. Sunday, February 5, 4:00pm

ROCKY RIVER Presbyterian Church Tickets at 216.320.0012 | apollosfire.org

Alan Choo, violin | Andréa Walker, soprano | Edward Vogel, baritone

Completely engaged. That’s how Joe Coyle feels about his life at Judson Manor.

“Expanding my curiosity about life is what

An award-winning journalist who has lived in Paris, Santa Fe, and New York City, he arrived in July 2020 via the suggestion of a fellow resident. He’s been delighted ever since. “As a writer, I enjoy spending time alone, and these surroundings are perfect: my apartment is quiet, and the views overlooking the Cleveland Museum of Art are lovely. But by far the best part of Judson is the people. Everyone is so knowledgeable about art and culture. I wanted to have stimulating company to spend my time with, and I’ve found that here. These are wonderful, interesting people,” says Joe. Read the full story at judsonsmartliving.org/blog

Learn more about how Judson can bring your retirement years to life! judsonsmartliving.org | 216.930.1688

Judson Park Cleveland Heights

Judson Manor University Circle | South Franklin Circle Chagrin Falls

it’s all about.”

Joe Coyle