Monteverdi VESPERS of 1610

Monteverdi VESPERS OF 1610

Board of Directors

From the President

Program

Notes on the Program

Soloist Profiles

Jeannette Sorrell

Musician & Chorister Roster

About Apollo’s Fire

Musician Profiles

Chorister Profiles

Foundations & Government Support

Individual Support

Thank you to our Innkeepers & Charioteers

Apollo's Fire Administration

ON THE COVER: Venice with the Dogana and the Church of S. Maria / Muller, William James (1812-45) Bury Art Museum & Sculpture Centre, UK / Bridgeman Images

Board of Directors

President

Charles A. Bittenbender

Chair

James B. Rosenthal

Vice Presidents

Kathleen Cerveny

Treasurer

Ryan Siebel

Secretary

William A. Powel III

Assistant Secretary

Andrew Gordon-Seifert

Jeffrey P. Barnett

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**

*ex officio

**Musicians’ Representative Community Advisors

Rodrigo Lara Alonso

McKenna Glorioso

Dianna White-Gould Lisa Whitfield

Akron Advisory Board

Thomas Clark, chair

Esther Cooper

Susan Delahanty

Barbara Feld 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 Karl Bekeny

Mitchell Blair Frances S. Buchholzer

Robert Conrad William E. Conway Samuel S. Hartwell

Marguerite B. Humphrey Rabbi Roger C. Klein

Annette Lowe

Deb Nash

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

Continuo Society

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

in memoriam

From the President

Greetings! Welcome to the 31st season of our Apollo’s Fire: Sparks of Joy in a Fragmented World. We gather here to celebrate the powerful impact of music on our hearts, our lives, and our communities.

Tonight, our musicians bring you a piece of incredible splendor – one of Jeannette’s favorite musical works. Monteverdi Vespers brings together chorus, strings, brass, lutes, and soloists in a glorious, triumphant statement of our humanity and spirituality. Our CD album of this piece has been recognized around the globe, and was recently named by BBC Music Magazine as one of “30 Must-Have Recordings of our Lifetime.” We’re glad you’re here to share this beautiful music with us.

I look ahead to an incredible season, packed with the wild power of Storms & Tempests, the triumph of Messiah, the resilience shown by people of Exile, and more. From elegant Bach to soulful Sephardic ballads and African American spirituals, we know you will find many moments of inspiration and joy.

I am delighted to welcome our two new administrative leaders: Curt Hancock, General Manager, and Michael Walker, Director of Development. Curt brings a wealth of experience in the day-to-day operations of a touring ensemble, while Michael brings innovative spirit and passion to his mission of furthering AF’s reach in the world. This dynamic duo looks forward to meeting you. Please check out their profiles on page 43.

This spring, Apollo’s Fire will embark on an ambitious worldwide tour, including San Francisco, Chicago, New York City, London, Aldeburgh (UK), and Heidelberg (Germany). Consider coming with us, for some or all of it! My wife Christy and I were among the “Tour Groupies” for AF’s 2018 tour to the UK and Ireland, and we cherish those delightful memories. For more information, please speak with Michael Walker or Curt Hancock.

We also continue to enjoy an exciting online presence worldwide, with an amazing 11 million views on YouTube (and counting)!

If you have not subscribed yet, it is not too late! Please see page 26 for more information, or speak to our friendly box office staff. By popular demand, Apollo’s Fire will continue to offer its “Watch-at-Home” option for 4 of the 7 concert programs this season.

Over 30 years and beyond, your passion has sustained us. Your continued generosity has enabled us to launch the MOSAIC Project, mentoring talented young musicians of color, as well as the new Artistic Initiatives Fund, supporting AF musicians’ fees and special artistic projects curated by Jeannette Sorrell.

Thank you for your steadfast support of our musical gem, Apollo’s Fire. Now, enjoy the performance!

Charles A. Bittenbender, President

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

These concerts are generously sponsored by CHARLES & CHRISTY BITTENBENDER

Monteverdi VESPERS OF 1610

Jeannette Sorrell, conductor

Erica Schuller, Molly Netter, Rebecca Myers, sopranos Kristen Dubenion-Smith, mezzo-soprano

Jacob Perry & Steven Caldicott Wilson, tenors Edward Vogel & Andrew Padgett, baritones

Saturday, October 8, 8:00pm First Baptist Church, Shaker Heights, OH Sunday, October 9, 4:00pm St. Raphael Catholic Church, Bay Village, OH Friday, October 14, 7:30pm St. Paul’s Episcopal Church, Akron, OH Saturday, October 15, 8:00pm First Baptist Church, Shaker Heights, OH Sunday, October 16, 4:00pm Northwestern University, Evanston, IL

Also available at home beginning November 4th as part of AF's Worldwide Watch-atHome series. Watch anytime for 30 days!

Vespers of the Blessed Virgin [)\

Versicle & Response: Deus in adjutorium

Cantor:

Deus in adjutorium meum intende.

O God, make speed to save me.

Chorus:

Domine ad adiuvandum me festina.

O Lord, make haste to help me. Gloria Patri, et Filio, et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Ghost. Sicut erat in principio, et nunc et semper, et in secula seculorum.

As it was in the beginning, now and forever, world without end. Amen. Alleluia.

Antiphon: Laeva ejus sub capite meo

Laeva ejus sub capite meo, et dextera ilius amplexabitur me. His left hand is under my head and his right hand embraces me.

Psalm 109: Dixit Dominus

Dixit Dominus Domino meo: The Lord said unto my Lord: sede a dextris meis, donec ponam inmicos tuos scabellum pedum tuorum. sit thou at my right hand, until I make thine enemies thy footstool.

Virgam virtutis tuae emittet Dominus ex Sion; The Lord shall send the rod of thy strength out of Sion; dominare in medio inimicorum tuorum.

Rule thou in the midst of thine enemies.

Tecum principium in die virtutis tuae; Thine is the foundation in the day of thy power; In splendoribus sanctorumex utero ante luciferum genui te. In the beauties of holiness I have born thee from the womb before the morning star.

Iuravit Dominus et non poenitebit eum;

The Lord hath sworn and will not repent; tu es sacerdos in aeternum secundum ordinem Melchisedech. thou art a priest forever after the order of Melchisedech. Dominus a dextris tuis confregit in die irae suae reges. The Lord at thy right hand has broken kings in the day of his anger. Iudicabit in nationibus, implebit ruinas; He will judge the nations, He will fill them with ruins: conquassibit capita in terra multorum. He will break the heads in the populous land.

De torrente in via bibet: propterea exaltabit caput. He shall drink of the torrent on the way: therefore he shall lift up his head. Gloria Patri et Filio… Glory be to the Father...

Motet: Nigra sum

Jacob Perry, tenor

Nigra sum et formosa filiae Jerusalem, I am a black and beautiful daughter of Jerusalem. Ideo dilexit me Rex, et introduxit in cubuculum suum et dixit mihi: So the King loved me, and led me into his bedroom and said to me: Surge, amica mea, et veni. Arise, my love, and come away.

Iam hiems transiit, imber abiit et recessit, flores apparuerunt in terra nostra; Now winter has passed, the rain has gone, and flowers have appeared in our land; tempus putationis advenit.

The time of pruning has come.

Antiphon: Nigra sum sed formosa

Nigra sum et formosa filiae Jerusalem, I am a black and beautiful daughter of Jerusalem. Ideo dilexit me Rex, et introduxit in cubuculum suum et dixit mihi.

So the King loved me, and led me into his bedroom.

Psalm 112: Laudate pueri

Laudate pueri Dominum: laudate nomen Domini. Praise the Lord, ye children! Praise the name of the Lord. Sit nomen Domini benedictum, ex hoc nunc, et usque in seculum. Blessed be the name of the Lord, from this time forth for evermore. A solis ortu usque ad occasum, laudabile nomen Domini. From sunrise to sunset, the Lord’s name is worthy of praise. Excelsus super omnes gentes Dominus, et super coelos gloria eius. The Lord is high above all nations and his glory above the heavens.

Quis sicut Dominus Deus noster, Who is like the Lord our God, qui in altis habitat et humilia respicit in coelo et in terra, who dwells on high and looks down on the humble things in heaven and earth, suscitans a terra inopem et de stercore erigens pauperem, raising the helpless from the earth and lifting the poor man from the dung heap to ut collocet eum cum principibus, cum principibus populi sui? place him alongside princes, with the princes of the people?

Qui habitare facit sterilem in domo, matrem filiorum laetantem. He makes a home for the barren woman, a joyful mother of children. Gloria Patri et Filio… Glory to the Father and to the Son, etc…

Motet: Pulchra es Erica Schuller & Molly Netter, sopranos

Pulchra es, amica mea, suavis et decora filia Jerusalem. You are beautiful, my love, sweet and comely daughter of Jerusalem. Pulchra es, amica mea, terribilis ut castrorum acies ordinata. You are beautiful, my love, terrible as the sharp lines of a military camp. Averte oculos tuos a me, quia ipsi me avolare fecerunt.

Turn your eyes from me, because they have put me to flight.

Antiphon: Pulchra es et decora

Pulchra es et decora, filia Jerusalem: terribilis ut castrorum acies ordinata. You are beautiful, comely daughter of Jerusalem: terrible as the sharp lines of a military camp.

Psalm 121: Laetatus sum

Laetatus sum in his quae dicta sunt mihi: in domum Domini ibimus. I was glad when they said unto me: we shall go into the house of the Lord. Stantes erant pedes nostri in atriis tuis Jerusalem; Our feet were standing within thy gates, O Jerusalem; Jerusalem, quae aedificatur ut civitas cuius participatio eius in id ipsum. Jerusalem, which is built as a city that is compact together. Illuc enim ascenderunt tribus, tribus Domini, testimonium Israel

For thither ascend the tribes of the Lord, to testify unto Israel, ad confitendum nomini Domini. to give thanks to the name of the Lord.

Quia illic sederunt sedes in iudicio, sedes super domum David. For there are the seats of judgment, the seats over the house of David. Rogate quae ad pacem sunt Jerusalem et abundantia diligentibus te.

O pray for the peace of Jerusalem, and may prosperity attend those who love thee. Fiat pax in virtute tua et abundantia in turribus tuis.

Peace be within thy strength, and prosperity within thy towers. Propter fratres meos et proximos meos loquebar pacem de te. For my brothers’ and my neighbors’ sake, I will ask for peace for thee.

Propter domum Domini Dei nostri quaesivi bona tibi.

For the sake of the house of the Lord God, I have sought blessings for thee. Gloria Patri et Filio…

Glory be to the Father and to the Son, etc…

Motet: Duo Seraphim

Jacob Perry, Steven Caldicott Wilson, Haitham Haidar, tenors

Duo Seraphim clamabant alter ad alterum:

Two Seraphim were calling one to the other: Sanctus, sanctus, sanctus Holy, holy, holy Lord

Dominus Deus Sabaoth: plena est omnis terra gloria eius.

God of Hosts: the whole earth is full of his glory. Tres sunt qui testimonium dant in coelo:

There are three who give testimony in heaven:

Pater, Verbum et Spiritus Sanctus: et hi tres unum sunt. The Father, the Word and the Holy Spirit: and these three are one. Sanctus, sanctus, sanctus… Holy, holy, holy…

Antiphon: Iam hiems transit

Iam hiems transiit, imber abiit, et recessit: surge, amica mea, et veni.

For lo, the winter is past, the rains are over and gone. Arise, my love, and come away.

Psalm 126: Nisi Dominus

Nisi Dominus aedificaverit domum, in vanum laboraverunt qui aedificant eam. Except the Lord build the house, they labour in vain that build it.

Nisi Dominus custodierit civitatem, frustra vigilat qui custodit eam. Except the Lord keep the city, the watchman waketh but in vain. Vanum est vobis ante lucem surgere: surgite postquam sederitis, It is vain for you to rise before dawn: rise when you have sat down, qui manducatis panem doloris. Cum dederit dilectis suis somnum; ye who eat the break of sorrow. When he has given sleep to those he loves; ecce hereditas Domini, filii: merces, fructus ventris.

Behold, children are an inheritance of the Lord: a reward, the fruit of the womb. Sicut sagittae in manu potentis: ita filii excussorum.

As arrows in the hand of the mighty: so are children of the vigorous. Beatus vir qui implevit desiderium sum ex ipsis:

Blessed is the man who has fulfilled his longing by them: non confundetur cum loquetur inimicis suis in porta. he shall not be perplexed when he speaks to his enemies at the gate. Gloria Patri et Filio...

Glory be to the Father and to the Son, etc… –

Intermission –

Psalm 147: Lauda, Jerusalem

Lauda Jerusalem, Dominum: Lauda Deum tuum, Sion. Praise the Lord, O Jerusalem: praise thy God, O Sion. Quoniam confortavit seras portarum tuarum; benedixit filiis tuis in te.

For he hath strengthened the bars of your gates: he hath blessed thy children within thee. Qui posuit fines tuos pacem, et adipe frumenti satiat te. He maketh peace in thy borders, and filleth thee with the finest of the wheat. Qui emittit eloquium suum terrae: velociter currit sermo eius.

He sendeth forth his commandment upon earth: his word runneth very swiftly. Qui dat nivem sicut lanam; nebulam sicut cineram spargit.

He giveth snow like wool: he scattereth the cloud like ashes. Mittit crystallum suam sicut bucellas: ante faciem frigoris eius quis sustinebit? He casteth forth his ice like morsels: who will stand before his cold?

Emittet verbum suum, et liquefaciet ea: flabit spiritus eius, et fluent aquae. He will send out his word and melt them: He will cause his wind to blow and the waters will flow.

Qui annuntiat verbum suum Jacob: iustitias et judicia sua Israel. He showeth his word unto Jacob, his statutes and judgments unto Israel. Non fecit taliter omni nationi: et iudicia sua non manifestavit eis. He hath not dealt so with any nation: and he has not shown his judgments to them. Gloria Patri et Filio…

Glory be to the Father and to the Son, etc…

Motet: Audi Coelum

Steven Caldicott Wilson & Haitham Haidar, tenors

Audi coelum verba mea, plena desiderio et perfusa gaudio. (Audio.)

Hear, o heaven, my words, full of desire and suffused with joy. (I hear.)

Dic, quaeso, mihi: Quae est ista quae consurgens ut aurora rutilat, ut benedicam? (Dicam.)

Tell me, I pray: who is she who rising like the dawn, shines, that I may bless her? (I shall tell you.)

Dic, nam ista pulchra ut luna, electa ut sol replet laetitia terras, coelos, maria. (Mary.)

Tell, for she is beautiful as the moon, exquisite as the sun which fills with joy the earth, the heavens and the seas. (Mary.)

Maria Virgo illa dulcis, praedicata de prophetis Ezechiel porta orientalis, (Talis.) Mary, that sweet Virgin fortold by the prophet Ezechiel, gate of the rising sun, (such is she!)

Illa sacra et felix porta, per quam mors fuit expulsa, introducta autem vita, (Ita.) that holy and happy gate through which death was driven out, but life brought in, (even so!)

Quae semper tutum est medium inter homines et Deum, pro culpis remedium. (Medium.) who is always a sure mediator between man and God, a remedy for our sins. (A mediator.)

Omnes hanc ergo sequamur, quae cum gratia mereamur vitam aeternam. Consequamur. (Sequamur.)

All mankind, let us all follow her by whose grace we gain Eternal life. Let us seek after her. (Let us follow.)

Praestet nobis Deus Pater hoc et Filius et Mater, cuius nomen invocamus, dulce miseris solamen. (Amen.)

May God the Father grant us this, and the Son and the Mother, on whose name we call, sweet solace for the unhappy. (Amen.)

Benedicta es, Virgo Maria, in seculum secula. Blessed art thou, Virgin Mary, world without end.

Antiphon: Virgo prudentissima

Virgo prudentissima, quo progrederis quasi aurora valde rutilans, filia Sion, O wisest Virgin, where art thou going in this deepest red of dawn? Daughter of Zion, tota formosa et suavis es, pulchra ut luna: electa ut sol. thou art so calm, so sweet, so beautiful, that thou drawest the moon and sun unto the Heavens.

Sonata sopra Sancta Maria Andréa Walker, soprano

Sancta Maria, ora pro nobis. Holy Mary, pray for us. (sung 11 times)

Hymn: Ave maris stella

Kristen Dubenion-Smith, mezzo-soprano & Edward Vogel, baritone

Ave maris stella, dei mater alma, Atque semper virgo, felix coeli porta. Hail, star of the sea, life-giving mother of God and perpetual virgin, happy gate of heaven. (Chanted, then repeated as hymn.)

Sumens illud ave, Gabrielis ore, Funda nos in pace mutans Evae nomen. Receiving that “ave”, from the mouth of Gabriel, keep us in peace, reversing the name “Eva”. Ritornello.

Solva vincla reis, profer lumen caecis, Mala nostra pelle, bona cunctis posce. Loosen the chains from the guilty, bring forth light to the blind, drive out our ills, ask for blessings for all. Ritornello.

Monstra te esse matrem: Sumat per te preces, Qui pro novis natus tulit esse tuus. Show yourself to be his mother: may he receive through you our prayers who, born for us, deigned to be yours. Ritornello.

Virgo singularis, inter omnes mitis, Nos culpis solutos mites fac et castos. Peerless virgin, gentle above all others, when we are pardoned for our sins, make us gentle and pure. Ritornello.

Vitam praesta puram, iter para tutum, Ut videntes Jesum semper collaetemur. Grant us a pure life, prepare a safe journey, so that seeing Jesus we may rejoice forever.

Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto, Tribus honor unus. Praise be to God the Father, glory to Christ most high, and to the Holy Spirit, triple honour in one. Amen.

MAGNIFICAT

Antiphon: Sancta Maria succure miseris

Sancta Maria succurre miseris, iuva pusillanimes, refove flebiles: ora pro popula, interveni pro clero, intercede pro devoto femineo sexu: sentiant omnes tuum iuvamen, quicunque celebrant tuam sanctam festivitatem. Holy Mary, come to the aid of us poor ones; strengthen the faint-hearted, console those who weep, pray for your people, be a help to the priests, intercede for pious women, may all feel your aid who celebrate your holy festival.

Magnificat anima mea Dominum. My soul doth magnify the Lord

Et exultavit spiritus meus in Deo salutari meo. And my spirit hath rejoiced in God my saviour.

Quia respexit humilitatem ancillae suae, ecce enim ex hoc beatam me dicent omnes generationes. For he hath regarded the lowliness of his handmaiden, for behold, from henceforth all generations shall call me blessed.

Quia fecit mihi magna qui potens est et sanctum nomen eius. For he that is mighty hath magnified me, and holy is his name.

Et misericordia eius a progenie in progenies timentibus eum. And his mercy is on them that fear him throughout all generations.

Fecit potentiam in brachio suo; dispersit superbos mente cordis sui. He hath showed strength with his arm; he hath scattered the proud in the imagination of their hearts.

Deposuit potentes de sede et exaltavit humiles. He hath put down the mighty from their seat and hath exalted the humble and meek.

Esurientes implevit bonis, et divites dimisit inanes. He hath filled the hungry with good things and the rich he hath sent empty away.

Suscepit Israel puerum suum, recordatus misericordiae suae. He, remembering his mercy, has helped his servant Israel,

Sicut locutus est ad patres nostros, Abraham et simini eius in secula. as he promised to our forefathers, Abraham and his seed forever.

Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son, and to the Holy Ghost Sicut erat in principio, et nunc, et semper et in secula seculorum. as it was in the beginning, now and forever, world without end.

Amen.

Notes on the Program

The Mysteries of Monteverdi

by Jeannette Sorrell

Excerpt from Nisi Dominus, Cantus part-book, 1610.

We will perhaps never understand why great artists often create their most sublime works during periods of personal despondency and depression. From Monteverdi to Mozart, from Dostoevsky to Van Gogh, the world has been graced with beauty that comes out of the suffering of artists.

The winter of 1607-1608 was such a period for Monteverdi. Exhausted and despondent over the recent death of his wife, he was also overworked and underpaid as an employee of the Duke of Mantua. Thus, his father wrote to the Duke to request an honorable dismissal for his grief-stricken son, whose health was suffering as well as his spirits.

The plea was ignored and Monteverdi was ordered to return to work. Important things were afoot at the Mantuan palace, and music was needed: the Duke’s son, Prince Francesco, was to be married to Margherita of Savoy. Though we don’t know for certain, it is probable that Monteverdi was ordered to compose his extraordinary Vespers for the wedding celebrations, which commenced in Mantua in May 1608 and eclipsed all other events for several years. The eminent Monteverdi scholar Iain Fenlon has argued convincingly that the Vespers were most likely composed for performance in Mantua in 1608, not for Venice in 1610 where the work was published.

Monteverdi’s Vespers are an extraordinary and revolutionary setting of the five psalms, hymn, and Magnificat which make up a Roman Catholic Vespers service. In addition to these standard movements, Monteverdi included four motets (sometimes called “concertos”) for one, two, three, and six voices respectively, based primarily on love poetry from the Song of Solomon. There is also an instrumental sonata movement over which is woven the chant “Sancta Maria ora pro nobis.”

Notes on the Program (continued)

What makes Monteverdi’s setting of the Psalms and the Magnificat so remarkable is that he uses the traditional psalm tones that would normally be chanted in a Vespers service, but turns them into a kind of cantus firmus—that is a kind of slow-moving, repeated chant—around which he weaves the most elaborate and avant-garde counterpoint imaginable. The relationship between the fixed, archaic Medieval psalm tone and the flamboyant and imaginative Baroque counterpoint that dances around it produces an extraordinary level of tension and beauty—indeed, it seems to evoke the struggle between ancient mysticism and modern enlightenment.

Three years after publishing the Vespers, Monteverdi finally escaped from his unhappy employment in Mantua in 1613 and became music director at St. Mark’s Basilica in Venice. Many conductors have assumed that Monteverdi conceived the Vespers for the vast and monumental Basilica—even though he had already published the piece three years before auditioning there—and that he composed the piece to impress the staff at St. Mark’s. This theory then leads to an interpretation using large choral forces such as one would need in order to make a festive impression in the sprawling Basilica. The fact is, though, that Monteverdi could hardly have had his eye on the St. Mark’s job when he published the Vespers in 1610, as the preceding St. Mark’s music director was still alive and healthy, and no one could have foreseen his unexpected death two years later, resulting in a job opening.

By contrast, there is much evidence to suggest that the Vespers were composed and conceived for Mantua. It is apparent even from a quick glance at the score that the Vespers were written for the same vocal and instrumental ensemble as Monteverdi’s opera L’Orfeo—that is, the small virtuoso ensemble who performed in Mantua in 1607. Both works call for two sopranos, two tenors (one with major solo demands), two basses, and a small part for alto. The ranges of these singers are nearly identical in the two works, including the unusually low tessitura of the lead tenor. The instrumentation is the same. Finally, the opening Toccata from L’Orfeo reappears as the opening Respond in the Vespers; both are based on material that may well have been the fanfare for the Duke of Mantua.

On May 25, 1608, it is reported that a “solemn Vespers” service was celebrated at the church of St. Andrea in Mantua, as part of the wedding festivities mentioned above. This was a major event, in which Prince Francesco was installed as the first member of a new order of knights. The term “solemn”

St. Mark's Basilica

Monteverdi Vespers of 1610

Vespers means polyphonic (rather than merely chanted); so, as Iain Fenlon has suggested, it is highly probable that the music performed at this service was Monteverdi’s Vespers. Of course Monteverdi may have eventually performed his Vespers at St. Mark’s when he took up employment there, and he may well have used the work as his audition piece for the post. But it is clear that he did not originally conceive the piece for that space.

Most conductors who oppose the large-scale “St. Mark’s” approach to this piece have assumed that Monteverdi conceived the Vespers for the small ducal chapel at Mantua, which could have only accommodated a one-on-a-part performance (ten singers). However, there is no record of any festive event taking place in that chapel during 1608-1610 for which music as flamboyant as Monteverdi’s Vespers would have been appropriate. On the contrary, Monteverdi’s work would have been extremely appropriate for the wedding festivities at St. Andrea church; the sensuous love poetry contained in Monteverdi’s text, drawn from the Song of Solomon, is ideal for a wedding celebration but would certainly seem out of place at any other Vespers service.

All of this impacts one’s interpretation because there are so many questions left open by the score. The Vespers publication of 1610 (which is not even a score but a set of eight individual part-books) is typical of the time in that it contains minimal information about how the piece is to be performed. There are few indications of instrumentation, and none at all of tempo, dynamics or articulation.

Nor do we know what size of forces he conceived. While most scholars agree that instrumental parts were performed with only one player to a part at this period, there is much disagreement about how many singers should be used. Monteverdi lived on the cusp between the Renaissance and Baroque periods. Some conductors take a “Renaissance” approach to the Vespers, using singers one on a part to create a kind of madrigal ensemble. Other conductors take an 18th century (or later!) approach, evoking the image of St. Mark’s and using a large Handel-sized chorus of 25 to 35 and soloists with operatic voices.

The fact is that Monteverdi was neither a Renaissance composer nor an 18thcentury High Baroque composer. He was a revolutionary, living at the end of the Renaissance and pushing the limits to forge the new style which we call Baroque (just as Beethoven forged the Romantic style out of the Classical period two centuries later). He used the finest professional singers and instrumentalists in

Monteverdi

the region and gave them daringly avant-garde music to perform—music that uses the tools of the Renaissance and stretches them to convey the flamboyant, emotional imagery of the early Baroque. This is music full of sudden contrasts, freedom of expression, and spontaneous flights of imagination. I do not think it is ideally suited to a massive Handelian chorus, nor can the necessary contrasts be achieved by a one-on-a-part madrigal ensemble. We take the cue for our performance from the setting of St. Andrea church in Mantua on that spring day in 1608: the grand opening of festivities for an extraordinary royal wedding. The excitement of the cantor is palpable as he intones the chant that sets the drama in motion: Deus in adjutorium meum intende. “God, make speed to save me”—the ordinary words of the Vespers, but not so ordinary today. The company of 36 musicians responds with electrifying joy, launching the fanfare, the pageantry, and the royal procession of the Gonzaga family and the House of Savoy.

Thus, our evocation of the “solemn Vespers” at St. Andrea church employs forces appropriate to a church of that size—19 singers and 17 instrumentalists. In choosing for these mid-size forces, I hope to have captured the fleetness, flexibility, and dynamic contrast that Monteverdi must have intended.

© Jeannette Sorrell, Cleveland, Ohio

Headlam

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Soloist Profiles

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Vespers of

Soprano REBECCA MYERS is a soloist, vocal chamber singer, collaborator, recording artist, and creator in high demand. Rebecca has gained a reputation for her “timbral clarity and flawless pitch”, “nimble coloratura” and “vulnerability and grace”. Notable engagements this coming season include her New World Symphony debut as soprano soloist in Carmina Burana, participation in the two-week long Enlightenment Festival featuring music of J.S. Bach with Seraphic Fire, a return to the central coast of California for the annual CalPoly Bach Festival, work with the newly formed Bach Vocal Arts at the annual Bach Festival Society in Winter Park, Florida, and performances with Lorelei Ensemble and the Boston Ballet. At home in Philadelphia, Rebecca is a core member of The Crossing, the GRAMMY® awardwinning contemporary music vocal ensemble. She is also proud to be the coartistic director, a founding member, and singer in the genre-bending, cuttingedge vocal ensemble, Variant 6.

Canadian-American soprano MOLLY NETTER enlivens complex and beautiful music, both old and new. Her voice can be heard on five GRAMMY®-nominated albums since 2017. Netter engaged in numerous solo performances in the 2021-22 season, including her solo debuts with the New York Philharmonic and the California Symphony. In addition, Netter served as soloist during the Johnstown Symphony’s Messiah, Haydn’s The Creation with the Staunton Music Festival, and recorded an album of gallant music from “the New Spain” in Madrid with Camerata Antonio Soler, for release this year on Orchid Classics. This season, Netter will debut as soloist with the Fort Worth Symphony and the LA Philharmonic. Molly holds degrees from Oberlin Conservatory and Yale University, and is currently on voice faculty at the Oberlin Baroque Performance Institute.

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

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Soloist Profiles (continued)

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.

Recognized for her “velvety legato and embracing warmth of sound” (WASHINGTON CLASSICAL REVIEW) and “lyricmezzo of uncommon beauty” (THE WASHINGTON POST), mezzo-soprano KRISTEN DUBENION-SMITH enjoys an active performing career in oratorio and sacred vocal chamber music, specializing in music of the medieval, renaissance and baroque eras. 2022-2023 season highlights include BWV 170 with Chatham Baroque, Cupid in Blow’s Venus and Adonis with Bach Collegium San Diego, Bach’s Christmas Oratorio with the Washington Bach Consort, Handel’s Messiah with Ensemble Altera, and an international tour of Handel’s Solomon with The English Concert. Ms. Dubenion-Smith has been involved in a number of commercial recordings with The Folger Consort, Apollo's Fire, Cathedra, and Via Veritae and was an ensemble singer on the GRAMMY®-winning album, The Prison, by Ethel Smyth, with The Experiential Orchestra. Ms. Dubenion-Smith is also a past American Bach Soloists Academy participant and Virginia Best Adams Fellow at the Carmel Bach Festival.

Washington Metro Area-based tenor JACOB PERRY, JR. receives praise for his “gorgeous and stylish” interpretations of Renaissance and Baroque repertoire. He has been featured as a soloist with Apollo’s Fire, Choralis, Mountainside Baroque, Portland Baroque Orchestra, Tempesta di Mare, Washington Bach Consort, and the Washington National Cathedral. He was also the tenor participant in the Virginia Best Adams Masterclass at the 2022 Carmel Bach Festival. Deeply immersed in vocal chamber music, Mr. Perry enjoys playing with Les Canards Chantants, a soloist-ensemble based in Philadelphia of which he is the core tenor, as well as engagements with ensembles such as the Art of Early Keyboard, Cathedra, New Consort, Seraphic Fire, and TENET Vocal Artists. As Co-Artistic Director of Bridge, a genre-defying vocal collective based in Washington, he draws on his instincts for theatricality and story-telling, as the group explores the connections between early masterpieces and ground-breaking new works.

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Vespers of

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 NYC; Chatham Baroque; 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 indemand 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 the nation’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 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.

Baritone ANDREW PADGETT is an accomplished interpreter of early music from medieval to baroque repertoire, having worked with several early music luminaries including Masaaki Suzuki, Benjamin Bagby, and Paul O'Dette. He is a frequent collaborator with ensembles such as TENET, Pegasus Early Music, and Elm City Consort, both as an ensemble artist and a soloist. Andrew holds a Bachelor’s in physics, a Master’s in voice from UC Santa Barbara, and a Master’s in Early Music, Oratorio, and Chamber Ensemble from Yale University’s Institute of Sacred Music. After several years in New York City working with the Saint Thomas Choir of Men and Boys, he now lives in Boston with his wife and one-year-old son, where he sings with Emmanuel Music on their long-running Bach Cantata Series, under the direction of Ryan Turner.

Monteverdi Vespers

Jeannette Sorrell, Artistic Director

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, Grand Rapids Symphony, and Philharmonia Baroque in San Francisco, among others. Upcoming debuts include the Philadelphia Orchestra (Handel’s Messiah) and the Orquesta Sinfónica de Castilla y León (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.” –THE NEW YORK TIMES

Apollo's Fire

STRING BAND

Alan Choo, concertmaster

Emi Tanabe, violin

Nicole Divall, viola

Yael Senamaud-Cohen, viola

René Schiffer, cello Anna Steinhoff, viola da gamba Sue Yelanjian, contrabass

RECORDERS

Daphna Mor, recorder

Rachel Begley, recorder

CANTUS

DARK HORSE CONSORT

Alexandra Opsahl, cornetto Kiri Tollaksen, cornetto Greg Ingles, alto sackbut Mack Ramsey, tenor sackbut Erik Schmalz, bass sackbut

CONTINUO

William Simms, theorbo & guitar

Brian Kay, theorbo & percussion Peter Bennett, organ

Apollo's Singers

TENOR

Rebecca Myers, soloist

Erica Schuller, soloist Alissa Magee Andréa Walker

SEXTUS

Molly Netter, soloist

Kristine Caswelch

Ashlee Foreman

ALTUS

Kristen Dubenion-Smith, soloist

Timothy Parsons

Nadia Tarnawsky

Jacob Perry, Jr., soloist Haitham Haidar Mark Laseter

QUINTUS

Steven Caldicott Wilson, soloist

BASSUS I

Edward Vogel, soloist

Nathaniel Sullivan

BASSUS II

Andrew Padgett, soloist Christopher Talbot

Anne Wilson, rehearsal accompanist

Remembering the 30th Anniversary Celebrations

Dear Friends,

Thank you to all who joined us for the Anniversary festivities in May and June! We loved playing for you at Severance Hall and at the beautiful Gala at the Cleveland Museum of Art. Our family of musicians – six of which have been with me for 30 years – will always cherish our warm and welcoming audience in Northeast Ohio. It’s been a joyous ride for 30 years!

“Apollo’s Fire Brings Down the House”

“

A spectacular performance... Apollo’s Fire brings down the house. Not many [classical concerts] have two standing ovations... That is the effect on audiences wherever Apollo’s Fire performs. Incredibly energetic... To miss them when they are in the Cleveland area is a day wasted. How special that we can claim them here in Ohio as they bring a new understanding, as well as a special kind of excitement, to baroque music.”

– Cleveland.com

“Sunday’s concert... was an amazing event. A rhythmically splendid performance full of excitement and power... The featured soloists, who can knock the socks off an audience with their dazzling playing alone, reached deep into their reservoirs of charm to make personal connections with their listeners.”

– ClevelandClassical.com

The 30th Anniversary Concerts were a Smash! Mozart and the Chevalier

“An outstanding performance… bringing the audience to their feet. Sheer delight, capturing the special alchemy that launched Apollo’s Fire onto the world stage... a group that appeared out of nowhere and blazed a path to the top....”

– Seen & Heard International (UK)

“Apollo’s Fire brought the vivacity that audiences have come to expect from them. Dramatic tension... Sorrell moved around the podium like a sorceress incanting the music into being... The beauty of a group like Apollo’s Fire: they’re not afraid to challenge expectations.”

– Chicago Classical Review

Scenes from the RESPLENDENT GALA Cleveland Museum of Art, June 11, 2022

Held on the 30th anniversary of AF's debut concert in a sheep barn, this was a joyous and memorable occasion. Thank you to our Honorary Chair, Robert Conrad, our friends at Ideastream, and all of our sponsors.

Did you know that AF has over 11 million views of its YouTube videos? Check out our YouTube channel —

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 & Chorister Profiles

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 Case Western Reserve University.

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

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 and Haydn Society, and Albany Symphony. She is currently Principal Viola of Apollo’s Fire and a core member of Four Nations Ensemble.

YAEL SENAMAUD-COHEN, viola, is a native of France and was a member of the Chamber Orchestra of Paris and the Opera in Valencia, Spain. She studied baroque violin with Patrick Bismuth and actively performs on the baroque violin, viola, and viola d’amore. After moving to the United States, she played with the Cincinnati Symphony Orchestra, ProMusica Chamber Orchestra, CityMusic Cleveland, Bourbon Baroque, Indianapolis Baroque, and Apollo’s Fire. She is a graduate of the Conservatoire National de Paris and Peabody Institute.

RENÉ SCHIFFER , cello, is praised for his “interpretive imagination and patrician command of the cello” (CLEVELAND PLAIN DEALER). A native of Holland, he was a member of La Petite Bande for sixteen years, and has also performed with the Amsterdam Baroque Orchestra, Les Musiciens du Louvre, and Tafelmusik. As a concerto soloist, he has appeared internationally, and can be heard on over forty commercial recordings across six labels.

ANNA STEINHOFF, viola da gamba, performs throughout the Midwest with Third Coast Baroque, the Haymarket Opera Company, and is principal cellist with the Indianapolis Baroque Orchestra. During the summers, she has the pleasure of being a part of the Staunton Music Festival. In addition to classical music, she has performed and recorded with bands such as Mysteries of Life, Saturday Looks Good to Me, and children’s artist Justin Roberts. She holds degrees from the Oberlin Conservatory and Northwestern 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 and 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 the Cleveland Institute of Music and Boston University.

DAPHNA MOR , recorder, praised for her “astonishing virtuosity” (CHICAGO TRIBUNE), has been heard as a soloist and ensemble player throughout North America and Europe. She has appeared as a soloist at Tanglewood and the Metropolitan Museum with Apollo’s Fire, and in a duo with Joyce DiDonato on her War and Peace tour. She is co-director of the ensemble East of the River. She is a performer and teacher of music of the Jewish Diaspora and is Music Director of Beinienu.

RACHEL BEGLEY, recorder, performs as a soloist and with ensembles across North America, and has been hailed for her virtuosic and sensitive playing on both

Musician & Chorister Profiles (continued)

recorders and historical bassoons. Recent performing and recording highlights include The Metropolitan Opera, Tempesta di Mare, Newberry Consort, American Classical Orchestra, Boston Early Music Festival, and Early Music New York. She has been a visiting scholar at Indiana University’s Early Music Institute, and holds a Doctorate in Recorder and Early Music from SUNY Stony Brook.

ALEXANDRA OPSAHL , cornetto, studied recorder at the Royal Academy of Music, and cornetto with Bruce Dickey in Basel. While still a student, she won the 2003 Moeck Solo Recorder competition. She has performed with the Amsterdam Baroque Orchestra, the OAE, Boston Early Music Festival, I Fagiolini, Capella Barocca di Mexico, Piffaro, Tenet, and The Thirteen. She filmed L’Incoronazione di Poppea with both Oslo Opera and Glyndebourne Opera, and recorded Vivaldi’s Recorder Concerto in C Minor with Barokkanerne, and the JD Berlin cornetto concerto with the Norwegian Baroque Orchestra.

KIRI TOLLAKSEN, cornetto, enjoys a varied career as a performer and teacher. She has performed with groups including Piffaro, Apollo’s Fire, Toronto Consort, Tenet, Pacific MusicWorks, Tesserae, Concerto Palatino, and La Fenice, and is a member of Dark Horse Consort. With degrees from Eastman, Yale, and University of Michigan, Kiri had served on the faculty of Indiana University, Brass Antiqua, and the Amherst and Madison Early Music Festivals.

GREG INGLES, sackbut, is a graduate of the Interlochen Arts Academy, Oberlin Conservatory, and SUNY Stony Brook and was the solo trombone in the Hofer Symphoniker in Germany. He is a member of the ensembles Quicksilver and Piffaro, and is the Music Director of the Dark Horse Consort, which was featured at the 2015 Boston Early Music Festival. He played with the Globe Theater in their Broadway debut and is currently the Lecturer in Sackbut at Boston University.

ERIK SCHMALZ , sackbut, received degrees in performance from Oberlin Conservatory and the University of Cincinnati CollegeConservatory of Music. Shortly thereafter, he was introduced to early music, and since then, has had the opportunity to perform

and record with many of the premier ensembles in North America. A specialist in historically informed performance on period trombones ranging from renaissance slide trumpet to the romantic era, Erik and his instrumentarium of forty historic trombones currently reside in Collinsville, Connecticut.

MACK RAMSEY, sackbut, is a specialist in the performance of Renaissance and baroque music on instruments of the periods, playing sackbut, recorder, Renaissance flute and lute. He also is called upon to play classical and romantic period trombones in orchestral settings across the continent. Mack is a member of Dark Horse Consort, the early brass ensemble.

BRIAN KAY, theorbo, is a multiinstrumentalist, arranger, and historical music specialist. He has performed throughout the world at venues including the National Concert Hall of Dublin, Belfast Castle, Carnegie Hall, the Kennedy Center, and the Folger Theater. He is a core member and artistic leadership fellow with Apollo’s Fire, and in 2019, he won a GRAMMY® Award for his work on their album Songs of Orpheus. Recently he was a featured soloist on the soundtrack of The Witcher on Netflix.

WILLIAM SIMMS, theorbo, appears regularly with Apollo’s Fire, The Thirteen, Heartland Baroque, Indianapolis Baroque, The Arcadia Players, and The Washington Bach Consort. He has performed numerous operas and oratorios with such ensembles as The Washington National Opera, Opera Philadelphia and American Opera Theater. Venues include Carnegie Hall, The Kennedy Center, The Barns of Wolftrap, Tanglewood and the National Cathedral. He performed on the GRAMMY®-winning Songs of Orpheus with Apollo’s Fire and Karim Sulayman.

PETER BENNETT, 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 appeared with Cambridge University Press in 2021.

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.

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.

KRISTINE CASWELCH, soprano, is pursuing her Masters in historical performance at Longy School of Music. Highlighted performances include Lift Ev’ry Voice with Apollo’s Fire, the Soprano Evangelist in Arvo Pärt’s PASSIO and Citizen: An American Lyric, a co-curated program with Cleveland City’s Big Read Program. Recent ensemble appearances include Joby Talbot’s Path of Miracles (Boston Cecilia), and Handel’s Messiah (New York Philharmonic).

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.

TIMOTHY PARSONS, countertenor, is a GRAMMY®-nominated singer and conductor. He is a member of the Choir of Trinity Wall Street, was previously a Lay Clerk at Christ Church Cathedral, Oxford, and appears frequently with TENET Vocal Artists. Timothy has performed in some of the world’s great concert halls, including London’s St. John’s Smith Square and Utrecht’s Tivoli Vredenburg.

NADIA TARNAWSKY, alto, spent much of 2017 and 2018 in Ukraine as a Fulbright

Vespers

researcher. She has taught and performed traditional Ukrainian folk songs in many venues in North America and Europe, and has performed with ensembles such as Cappella Romana, Quire Cleveland, Ensemble Cherubim and Ensemble Hilka.

HAITHAM HAIDAR , tenor, is a LebanesePalestinian Canadian based in Montreal. He has recently appeared as the Evangelist in Bach’s St. John Passion at the Winnipeg Baroque Festival. This year, he will appear as the tenor soloist in Handel’s Messiah with the Winnipeg Symphony Orchestra, as well as a remount of the Five Borough Songbook, Volume III in New York.

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.

NATHANIEL SULLIVAN, baritone, is a musician, theatre artist, and writer. Recent highlights include: Gerdine Young Artist, Opera Theatre of Saint Louis; world premiere of Jacob Bancks's Karkinos, Quad City Symphony Orchestra; and the American premiere of George Benjamin's Lessons in Love and Violence, Tanglewood Festival. He holds degrees from the University of Nebraska–Lincoln and Bard College Conservatory of Music.

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 pursued graduate study at Yale’s Institute of Sacred Music, and currently lives in Philadelphia with his wife and two cats.

Monteverdi

Welcome to our Administrative Leadership Team!

Apollo’s Fire is delighted to welcome Curt Hancock and Michael Walker, the new dynamic duo at the helm of AF's administration. Curt and Michael look forward to meeting you!

In addition, our beloved colleague Noha Ryder steps into a new and special role.

CURT HANCOCK, General Manager

Curt Hancock joined Apollo’s Fire in May 2022 after serving as Director of Operations & Touring at the renowned Chanticleer vocal ensemble for 14 years. Prior to Chanticleer, he served as Administrative Director of the San Francisco Opera Center – the young artist training department of San Francisco Opera. He started out his career as Artistic Administrator for Central City Opera in Colorado. Curt holds a Bachelor’s degree in music education from Westminster Choir College. He is an avid crafter (quilting, knitting, and weaving), and shares in the AF staff tradition of bringing his dogs to the office.

MICHAEL WALKER, Director of Development

Michael Walker comes to Apollo’s Fire from Central City Opera in Colorado, where he served as Annual Giving Manager with great success. He has previously held positions with Indianapolis Opera and the Bloomington Early Music Festival. In addition to being a dynamic arts management professional, Michael is also a baroque countertenor and is deeply steeped in early music. He holds a Master’s in Historical Performance Practices from Indiana University and a Bachelor’s in Business Administration from the University of Alabama. He serves on the board of directors of Early Music America and as the Vice President of the board of directors for the Indianapolis Baroque Orchestra. Michael is a national leadership Fellow with the Sphinx Organization, dedicated to the development of young Black and Latino classical musicians.

NOHA RYDER, Director of Strategic Initiatives

Ms. Noha Ryder, who has held leadership positions at Apollo’s Fire for the last 8 years, will now lead AF’s efforts to create a community arts center at University Circle United Methodist church, along with a consortium of small and medium arts and education partner-organizations. Noha holds a Bachelor’s and Master’s in business administration from Case Western Reserve University. With over 25 years of varied business, management and finance experience, she has been an active volunteer for the arts and has served on several nonprofit boards. For more information on the proposed community arts center, see ARTSPLACE in the Circle at apollosfire.org.

Join this season!

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

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.

Albert G. & Olive H. Schlink Foundation

Martha Holden Jennings Foundation

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.

Innkeepers & Charioteers

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

Innkeepers

Gail Arnoff & George Woideck

Kathleen & Mark Binnig Chuck & Christy Bittenbender

Eileen M. Burkhart Richard & Judy Cohen

Jan & Jerry Bohinc

Carol Engler

Leigh & Andrew Fabens Debra Franke

Debra Golden & Michael Star Antonnette Graham

Jacqueline Freedman

Jane Haylor & Mel Berger

Ann Herbruck Carole Kass • Mary Ann & Steve Mahoney

Dr. Kandice Marchant Marilyn & Tom McLaughlin

Linda Miller & Steve Forgerson Angela Mortellaro

Charlotte & Jack Newman

Jane Richmond Kasia & Douglas Rothenberg

Linda & John Olejko Elisabeth & Paige Plumlee-Watson

Daniel & Ruth Shoskes Anne Unverzagt & Rick Goddard

Charioteers

Ed & Ellen Weber

Arnoff

Beth Bliss

Veronica Dever

Edith Hirsch

Rosenberg

Betty Gregovich

Scott Hare Byron Hays

Barbara Nahra

Susan Schaul

Judith Weiss

Martin Pope

Bob Young

information about becoming an Innkeeper or Charioteer, please contact Edward Vogel at 216.320.0012

Administration

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, Ph.D., Managing Director of the Windy City Series

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 & Patron Services Associate

Erica Brenner, Director of Media Production

Tom Frattare, Stage Production Manager

Martins Daukss, Stage Manager

3091 Mayfield Road, Suite 217 | Cleveland Heights, OH 44118 216.320.0012

800.314.2535

apollosfire.org

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

“Expanding my curiosity about lifeis what it’s all about.”

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

Joe Coyle