Purcell's DIDO & AENEAS (CHICAGO)

PURCELL’S Dido & Aeneas

Board of Directors

Chair

Charles A. Bittenbender

Chair Emeritus

James B. Rosenthal

Vice Chairs

Kathleen Cerveny

William A. Powel

Treasurer

Ryan Siebel

Assistant Treasurer

Meng “Locky” Liu

Secretary

Andrew Gordon-Seifert

Jeffrey P. Barnett

Karl Bekeny

Amy K. Carlson

Thomas Clark*

Nicole Divall**

Michael Frank, M.D. J.D.

Ka-Pi Hoh, Ph.D.

Thomas Forrest Kelly, Ph.D.

Richard J. Lederman, M.D. Ph.D.

Michael J. Meehan

John Olejko

Linda M. Olejko

Kim S. Parry

Katrina Pipasts*

David J. Reimer

Phillip Rowland-Seymour

Elisa Ross, M.D.

Noha Ryder

Jeannette Sorrell*

Kathie Stewart**

Rebecca Storey

Herb Wainer

David Walker*

Ed Weber, D.O.

Apollo’s Fire Chicago

Elisa Ross M.D., President

Katrina Pipasts, President Emeritus

Doug Miller, Vice President

Marietta McPike, Secretary

Shay Olson, Treasurer

Michael Angell

Charles A. Bittenbender

Stephanie Champi

Patricia Costante

Blondean Davis, Ed.D.

Rosalind Jackson, Ph.D.

Florence Nelson

Jonathan H. Ross

Phillip Rowland-Seymour

James C. Sheinin, M.D.

Patricia (“Patti”) Skigen

Jeannette Sorrell*

David Walker*

Community Advisors

Rodrigo Lara Alonso

Nathália Montezuma

Dianna White-Gould

Continuo Society

Akron Advisory Board

Thomas Clark, chair

Theron Brown

Esther Cooper

Susan Delahanty

Barbara Feld

Ashlee Foreman

William Foster

Walter Keith

Geraldine Kiefer

George Litman, M.D.

Kenneth Shafer, M.D.

Sandra R. Smith

Libby Upton

The Ambassadors Council

Elizabeth Patterson, M.D.

Mitchell Blair

Frances S. Buchholzer

Robert Conrad

William E. Conway

Samuel S. Hartwell

Vivian Henoch

Rabbi Roger C. Klein

Annette Lowe

Deb Nash

Robert Reynolds, M.D.

Allison Richards

Kasia G. Rothenberg, M.D., Ph.D.

Sandra R. Smith

Susan Troia

Ed Weber, D.O.

*ex officio

**Musicians’ Representative

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

William P. Blair III†

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

Ann Fairhurst

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

Marguerite B. Humphrey†

Conway Ivy

Denise Jackson

Robert H. Jackson†

Delia Jarantilla

Marjorie H. Kitchell†

Katherine Larson

Donald Laubacher

William H. Lennon

Fred J. Livingstone

David Love

Michael Lynn

Stephen A. Mahoney, M.D.†

Polly Morganstern

Donald W. Morrison†

Clyde L. Nash, M.D.†

Charlotte Newman

Leroy B. Parks, Jr.

Brendan Patterson

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

Daniel Shoskes

Carsten Sierck

Kempton Smith

Kathie Lynne Stewart

Eugenia Strauss

Susan Troia

Lee Warshawsky

Carol Wipper

Lynne Woodman

Roger Wright

Dave Young

From the Chair of the Board

On behalf of the Board of Directors, welcome to the 34th season of Apollo’s Fire! We look forward to embarking with you on an exciting new season of spectacular music. Apollo’s Fire continues to grow, both musically and organizationally, to new levels of excellence.

This year we will present an exciting and varied series of programs, as well as our summer countryside concerts in NE Ohio. In addition, our Chicago residency will be bigger and better than ever, with concerts in Chicago, Evanston and at the Ravinia Festival. There will also be additional performances this year in Columbus, South Bend, Sanibel Island, New York, and Richmond, Virginia, culminating with return engagements in London and Aldeburgh, England in April. You are welcome to join us at any of these concerts, and to travel with Jeannette and our musicians to enjoy Apollo’s Fire in these remarkable and diverse venues.

At home, we continue to populate our Cleveland and Chicago boards and staff with fresh faces. I am especially pleased to welcome our new Managing Director, David Walker. David, formerly a professional opera singer with a long and illustrious resumé, comes to us from Florida where he previously served as the Executive & Artistic Director of the Palm Beach Opera. David will be a consistent presence in our office and at concerts – please take a moment to meet and get to know him.

Apollo’s Fire is firmly rooted as an essential part of Northeast Ohio’s cultural life. Looking to the future, and guided by our 2024–2028 strategic plan, we are focused on expanding sustainability through earned and contributed income in Chicago, enhancing our international reputation as a preeminent baroque ensemble, and securing long-term financial stability through diverse funding sources..

And since we cannot accomplish these strategic plan initiatives and efforts without you, we thank you for your important commitment and support to our much-beloved orchestra and choir, Apollo’s Fire.

Charles A. Bittenbender, Board Chair

From the Managing Director

It is with great excitement that I join with our incomparable Board Chair Charles (Chuck) Bittenbender in welcoming you to Apollo’s Fire 34th season!

Having been an international opera and oratorio Baroque singer (countertenor) for almost 20 years, and having had the great fortune to work at some of the most prestigious opera companies and orchestras around the world, I have had the great pleasure of knowing of Apollo’s Fire for well over two decades. Early in my performing career I became a great admirer of the company’s quality and level of internationally recognized musicianship and artistry, and its meaningful impact on Baroque and early music performance in the United States and beyond.

Knowing how this company has been an industry leader and influencer for decades, and is now poised to reach even greater heights, I have reached a full circle ‘life moment’ by joining this important institution as its new Managing Director. To return to the repertoire I deeply love, and with an extraordinary and treasured organization like Apollo’s Fire is truly a once in a lifetime opportunity!

In my time with the company thus far, what has made an already life-long impression on me is that in addition to the transformative power of music that we share with our audiences at each performance, that we bring to all of our education and community engagement activities, and that we also commit to all of our youth and young professional training, our audience members and supporters are incredibly devoted, caring, and welcoming – and for that I thank you!

And what an exciting season to be a part of this incredible company – one that is packed with glorious and gorgeous music of ‘composer titans’ such as Purcell, Mozart, Praetorius, Bach, Vivaldi, Lully, Marais, Rameau, and much more, and we cannot wait to share every note with all of you!

Thank you for being part of the Apollo’s Fire family. It is because of your care and love for this organization that we are able to accomplish incredible music making and provide transformative education and engagement initiatives. I look forward to seeing, and meeting, you this season!

David Walker, Managing Director

The performance at Greystone Hall in Akron is generously sponsored by

GEORGE I. LITMAN, M.D.

The performances at the Music Institute of Chicago and the Chicago Cultural Center are generously sponsored by

JOYCE CHELBERG

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

PURCELL’S

Dido & Aeneas

A Dramatic Concert Presentation

Jeannette Sorrell, musical & dramatic direction

Julie Andrijeski, dance choreography

Aryssa Leigh Burrs, mezzo-soprano (Dido)

Edward Vogel, baritone (Aeneas)

Andréa Walker, soprano (Belinda)

Cody Bowers, countertenor (Sorceress)

with Apollo’s Singers

The October 9 and 12 performances are led by Assistant Artistic Director Alan Choo

Friday, October 3

Saturday, October 4

Sunday, October 5

Thursday, October 9*

Friday, October 10

Saturday, October 11

Sunday, October 12*

Greystone Hall, Akron, OH

Nichols Concert Hall, Music Institute of Chicago, IL

Chicago Cultural Center, IL

Morley Music Hall, Lake Erie College, Painesville, OH

The Tudor Arms Hotel, Cleveland, OH

Kulas Hall, Cleveland Institute of Music, OH

Gamble Auditorium, BW Conservatory, Berea, OH

PROGRAM

Dido & Aeneas

Music by HENRY PURCELL (1659-1695)

Libretto by Nahum Tate (1652-1715)

with incidental music from Purcell’s King Arthur and traditional British Isles Sea Shanties

Chaconne from King Arthur

*PROLOGUE: Mr. Priest’s Boarding School

ACT I: The Palace

ACT II: Scene 1. The Cave | Scene 2. The Grove – Intermission –

ENTR’ACTE: Sinfonia & Hornpipe from King Arthur

Traditional British Isles Sea Shanties: Wellerman | Downed & Drowned | Leave her Johnny, leave her!

ACT III: Scene 1. The Ships | Scene 2. The Palace

*Written by Jeannette Sorrell

t CAST IN ORDER OF APPEARANCE t

DIDO - Aryssa Leigh Burrs

BELINDA - Andréa Walker

SECOND WOMAN - Elora Kares

AENEAS - Edward Vogel

SORCERESS - Cody Bowers

WITCHES - Andréa Walker, Kristine Caswelch

SPIRIT - Kristine Caswelch

SAILOR - Edward Vogel

DANCERS - Andréa Walker & Sophia Duray (courtiers)

Mark & Edward Vogel (sailors)

Andréa Walker & Kristine Caswelch (witches)

PROLOGUE

Josias Priest’s Boarding School in Chelsea, 1689. The girls of the school introduce the composer, the librettist, and themselves. They introduce the subject of the fall of Troy, which they have been studying. The hero Aeneas fled from Troy, landed in Carthage (in Tunisia), and fell in love with Queen Dido. The girls debate the central question of why Aeneas then abandoned Dido: Was it Destiny, or mere Ambition? Do we choose our deeds of our own volition?

ACT I

Morning, at Dido’s Palace. Queen Dido, a young widow, is tormented by her attraction to her Trojan guest. The heroic Aeneas, who escaped from the ruins of Troy and wandered westward for six years, has professed his love to her. Dido hesitates to respond to his affections due to a deep foreboding. Her confidant, Belinda, encourages Dido to trust Aeneas and give in to her love. The entire group of courtiers joins in. (When monarchs unite, how happy their fate!) Aeneas enters and begs Dido to reward him with her love, in exchange for which he will happily take on the cares of her distressed empire. Belinda eagerly exhorts Love to pursue its conquest of Dido. During a dance, Dido shows some sign of affection, and the chorus of courtiers bursts into a celebratory song and dance.

Aeneas tells Dido of the Trojan War (Guérin, 1815)

ACT II, Scene I

The Witches’ Cave, that same morning. The Sorceress calls up her evil sisters and they plot to ruin Dido: ere sunset shall she lose her reputation, her life, and her love. There is much chortling about this. They plan to send an elf in the guise of the Roman god Mercury to order Aeneas to sail away and pursue his destiny. The first step is to conjure up a storm to spoil Dido and Aeneas’ hunting party. The chorus of witches sings as they work the spell and listen to their echo in the deep-vaulted cave.

ACT II, Scene 2

Afternoon, in the Grove. Dido, Aeneas, and their entourage are on a pleasant hunting party in the woods. Belinda dances to entertain them. Aeneas proudly displays the head of a boar on his spear (possibly foreshadowing Dido’s tragic fate?). Dido seems distracted by the approaching storm, caused by the witches. She and Belinda quickly call for the party to return to town.

They disperse, but a witch disguised as Mercury (messenger of the gods) appears, holding Aeneas back. Mercury orders Aeneas to leave Carthage this very night. Aeneas agrees immediately but then expresses concern about Dido’s feelings. (“How can so hard a fate be took? One night enjoy’d, the next forsook.”) He asks the gods to take the blame for injuring Dido, as he is merely obeying their will. He exits and the witches return to revel in their success.

- Intermission -

ACT III

Evening, on the Shore. Aeneas’ sailors sing as they prepare to embark. The sorceress and her witches plot to destroy the fleet. They exit, and the scene shifts to Dido, Belinda, and train. Having seen Aeneas’ preparations for departure, Dido is lamenting her fate. Aeneas enters to bid her farewell, claiming he is merely following the decree of the gods. Dido furiously rejects his apology, calling him a “deceitful crocodile” who merely blames the gods for his own decisions. Then, forsaken and humiliated, she goes to her grave with the famous lament, “When I am laid in earth.” Her grieving courtiers scatter flowers over her body.

PROLOGUE

Andréa.

Dear Patrons and Friends, with greatest delight We welcome you here on this fresh autumn night. I present you Elora, Sophia, and Kelsey Of Mr. Priest’s boarding school in Chelsea. Elora.

We thank you for coming to our little play, For which we have practiced both night and day!

Sophia.

The Musick to great Mr. Purcell belongs. And we’ve taken great pains to learn all the Songs. Kelsey.

The Words were written by Mr. Tate, And they mostly concern the subject of... Fate.

Elora.

For we have been learning the story of Troy, So long ago by the Greeks destroyed.

Andréa

From the ruins of Troy, great Aeneas did flee, And with all his men did he take to the sea.

Kelsey.

To the West, to Italy was he bound, His destiny: the city of Rome to found.

Sophia.

But was it Destiny, or mere Ambition? Do we choose our deeds of our own volition?

All:

But was it Destiny, or mere Ambition? Do we choose our deeds of our own volition?

Purcell's Dido & Aeneas

Andréa.

Why would she not love him, Aeneas so valiant!

Sophia. Why would she not love him, Aeneas so kind!

All:

Was she out of her mind?

Kelsey.

She feared that he would leave her.

Andréa.

“Yours be the blame, ye gods!” Aeneas said, For ‘tis your will I obey.”

Kelsey.

Aeneas’ ship strayed south, by and by, To the coast of Africa, where Carthage did lie. The Queen of Carthage, so lovely and fair, Received him with kindness, but hardly could dare, To let herself love him.

Andrea, Sophie, & Elora. To let herself love him?

Elora.

Why would she not love him? Aeneas so gallant!

Sophia.

Noble Queen Dido believes that Fate Is a thing that we ourselves create. ‘Tis our daily choices that seal our Fate.

Andréa.

Was it Destiny, or mere Ambition? Do we choose our deeds of our own volition?

Kelsey. Did Aeneas do right to leave and despise ‘er? We leave the answers to those older and wiser.

Elora.

For we know little of the ways of love. Sophia.

—But we are eager to learn!—

Andréa.

For we're just Andréa, Sophia, Elora, and Kelsey Putting on the BEST opera in Chelsea.

All:

Yes, we are Andréa, Sophia, Elora, and Kelsey Putting on the BEST opera in Chelsea.

© Jeannette Sorrell, Cleveland, 2009, rev. 2025

Libretto

OVERTURE

Act the First

Scene: The Palace

Belinda.

Shake the cloud from off your brow, Fate your wishes does allow; Empire growing, Pleasures flowing, Fortune smiles and so should you.

Chorus.

Banish sorrow, banish care, Grief should ne'er approach the fair.

Dido.

Ah! Belinda, I am prest With torment not to be Confest, Peace and I are strangers grown. I languish till my grief is known, Yet would not have it guest.

Belinda.

Grief increases by concealing, Dido.

Mine admits of no revealing.

Belinda.

Then let me speak; the Trojan guest Into your tender thoughts has prest; The greatest blessing Fate can give Our Carthage to secure and Troy revive.

Chorus.

When monarchs unite, how happy their state, They triumph at once o'er their foes and their fate.

Dido.

Whence could so much virtue spring? What storms, what battles did he sing? Anchises' valour mixt with Venus' charms How soft in peace, and yet how fierce in arms!

Belinda.

A tale so strong and full of woe Might melt the rocks as well as you. What stubborn heart unmov'd could see Such distress, such piety?

Dido.

Mine with storms of care opprest Is taught to pity the distrest. Mean wretches' grief can touch, So soft, so sensible my breast, But ah! I fear, I pity his too much.

Belinda and Second Woman.

[Repeated by Chorus]

Fear no danger to ensue, The Hero Loves as well as you, Ever gentle, ever smiling, And the cares of life beguiling, Cupid strew your path with flowers Gather'd from Elysian bowers.

Aeneas enters with his train.

Belinda.

See, your Royal Guest appears, How Godlike is the form he bears!

Aeneas.

When, Royal Fair, shall I be blest With cares of love and state distrest?

Dido.

Fate forbids what you pursue.

Aeneas.

Aeneas has no fate but you! Let Dido smile and I'll defy The feeble stroke of Destiny.

Chorus.

Cupid only throws the dart That's dreadful to a warrior's heart, And she that wounds can only cure the smart.

Aeneas.

If not for mine, for Empire's sake, Some pity on your lover take; Ah! make not, in a hopeless fire

A hero fall, and Troy once more expire.

Belinda.

Pursue thy conquest, Love; her eyes Confess the flame her tongue denies.

Chorus.

To the hills and the vales, to the rocks and the mountains

To the musical groves and the cool shady fountains. Let the triumphs of love and of beauty be shown, Go revel, ye Cupids, the day is your own.

THE TRIUMPHING DANCE

Act the Second

Scene I: The Cave

PRELUDE FOR THE WITCHES

Sorceress.

Wayward sisters, you that fright The lonely traveller by night Who, like dismal ravens crying, Beat the windows of the dying, Appear! Appear at my call, and share in the fame Of a mischief shall make all Carthage flame. Appear!

Enter Enchantresses.

First Witch.

Say, Beldam, say what's thy will. Chorus.

Harm's our delight and mischief all our skill.

Sorceress.

The Queen of Carthage, whom we hate, As we do all in prosp'rous state, Ere sunset, shall most wretched prove, Depriv'd of fame, of life and love!

Chorus.

Ho, ho, ho, ho, ho, ho! [etc.]

Two Witches.

Ruin'd ere the set of sun?

Tell us, how shall this be done?

Sorceress.

The Trojan Prince, you know, is bound By Fate to seek Italian ground; The Queen and he are now in chase.

First Witch.

Hark! Hark! the cry comes on apace.

Purcell's Dido & Aeneas

Sorceress.

But, when they've done, my trusty Elf In form of Mercury himself

As sent from Jove shall chide his stay, And charge him sail tonight with all his fleet away.

Chorus.

Ho, ho, ho, ho, ho, ho! [etc.]

Enter a Drunken Sailor; a dance.

Two Witches.

But ere we this perform, We'll conjure for a storm

To mar their hunting sport And drive 'em back to court.

Chorus. [in the manner of an echo]

In our deep vaulted cell the charm we'll prepare, Too dreadful a practice for this open air.

ECHO DANCE [Enchantresses and Fairies]

Scene II: The Grove

Enter Aeneas, Dido, Belinda, and their train.

RITORNELLO [Orchestra]

Belinda. [Repeated by Chorus] Thanks to these lovesome vales, These desert hills and dales, So fair the game, so rich the sport, Diana's self might to these woods resort.

Second Woman.

Oft she visits this lov'd mountain, Oft she bathes her in this fountain; Here Actaeon met his fate, Pursued by his own hounds, And after mortal wounds

Discover'd, discover'd too late.

A Dance to entertain Aeneas by Dido's women.

Aeneas.

Behold, upon my bending spear

A monster's head stands bleeding, With tushes far exceeding Those did Venus' huntsman tear.

Dido.

The skies are clouded, hark! how thunder Rends the mountain oaks a sunder.

Libretto (continued)

Belinda. [Repeated by Chorus]

Haste, haste to town, this open field No shelter from the storm can yield.

Exeunt Dido and Belinda and train.

The Spirit of the Sorceress descends to Aeneas in the likeness of Mercury.

Spirit.

Stay, Prince and hear great Jove's command; He summons thee this Night away.

Aeneas. Tonight?

Spirit.

Tonight thou must forsake this land, The Angry God will brook no longer stay. Jove commands thee, waste no more In Love's delights, those precious hours, Allow'd by th'Almighty Powers To gain th' Hesperian shore And ruined Troy restore.

Aeneas.

Jove's commands shall be obey'd, Tonight our anchors shall be weighed.

Exit Spirit.

But ah! what language can I try My injur'd Queen to Pacify: No sooner she resigns her heart, But from her arms I'm forc'd to part. How can so hard a fate be took?

One night enjoy'd, the next forsook. Yours be the blame, ye gods! For I Obey your will, but with more ease could die.

The Sorceress and her Enchantress. (CHORUS)

Then since our Charmes have sped, A Merry Dance be led By the Nymphs of Carthage to please us. They shall all Dance to ease us, A Dance that shall make the Spheres to wonder, Rending those fair Groves asunder.

- Intermission -

ENTR’ACTE

Traditional British Isles Sea Shanties

1. Wellerman

Sam Kreidenweis, baritone

There once was a ship that put to sea And the name of the ship was the Billy of Tea The winds blew up, her bow dipped down Blow, my bully boys, blow! (Huh!)

She had not been two weeks from shore When down on her a right whale bore The captain called all hands and swore He'd take that whale in tow. (Huh!)

Refrain:

Soon may the Wellerman come

To bring us sugar and tea and rum. One day, when the tonguin' is done We'll take our leave and go.

Before the boat had hit the water

The whale's tail came up and caught her All hands to the side harpooned and fought her But she took the ship in tow. (Huh!)

For forty days or even more, The line went slack, then tight once more. All boats were lost, there were only four, And still that whale did go. (Huh!) Refrain.

2. Downed & Drowned

Michael Galvin, bass Michael St Peter, tenor

San Jose was lost at sea

Along with a Spanish company, Their powder caught under fierce attack. The king never got his emeralds back. They're down, downed and drowned Downed and drowned and never found.

The Royal Charter in Dulas bay –One of two hundred lost that day. Miners' pockets filled with gold Dragged them down to the ocean cold. They're down, downed and drowned Downed and drowned and never found.

Refrain:

They're down, drowned in the depths below Where the sun don't shine and the winds don't blow And the timbers crack and the mainstay fails We'll all find peace wrapped within our sails.

The Mary Celeste was found alone –The fate of her crew is still unknown. Murder, fraud, or acts bizarre? No one knows, but chances are They're down, downed and drowned Downed and drowned and never found.

General Slocum's wheels of wood

Caught ablaze like they never should Floats of cork filled with weights instead Sent families off to the riverbed. They're down, downed and drowned Downed and drowned and never found. Refrain.

All my friends are dead and gone I'll join them soon, it won't be long Whether lost at sea or far ashore To the ocean return forevermore We're down, downed and drowned Downed and drowned and never found.

3. Leave Her Johnny, Leave Her

Sam Kreidenweis, baritone

Oh the work was hard and the wages low. Leave her, Johnny, leave her! I guess it’s time for us to go. And it’s time for us to leave her!

Leave her, Johnny, leave her!

Oh the voyage is done and the winds don’t blow. Leave her, Johnny, leave her!

Purcell's Dido & Aeneas

Act the Third

Scene I: The Ships

Enter the Sailors, the Sorceress, and her Enchantresses.

Sailor. [Repeated by Chorus]

Come away, fellow sailors, your anchors be weighing. Time and tide will admit no delaying. Take a bouzy short leave of your nymphs on the shore, And silence their mourning With vows of returning But never intending to visit them more.

THE SAILORS' DANCE

Sorceress.

See the flags and streamers curling Anchors weighing, sails unfurling.

First Witch.

Phoebe's pale deluding beams Guilding more deceitful streams.

Second Witch.

Our plot has took, The Queen's forsook. Two Witches.

Elissa’s ruin’d, ho, ho! Our plot has took, The Queen’s forsook, ho, ho!

Sorceress.

Our next Motion

Must be to storme her Lover on the Ocean! From the ruin of others our pleasures we borrow, Elissa bleeds tonight, and Carthage flames tomorrow. Chorus.

Destruction’s our delight Delight our greatest sorrow! Elissa dies tonight, and Carthage flames tomorrow.

A DANCE

Libretto (continued)

Scene II: The Palace

Enter Dido, Belinda and train.

Dido.

Your counsel all is urged in vain

To Earth and Heav’n I will complain!

To Earth and Heav’n why do I call? Earth and Heav’n conspire my fall. To Fate I sue, of other means bereft The only refuge for the wretched left.

Belinda.

See, Madam, see where the Prince appears; Such Sorrow in his looks he bears As would convince you still he’s true.

Enter Aeneas.

Aeneas.

What shall lost Aeneas do?

How, Royal Fair, shall I impart

The God’s decree, and tell you we must part?

Dido.

Thus on the fatal Banks of Nile, Weeps the deceitful crocodile

Thus hypocrites, that murder act, Make Heaven and Gods the authors of the Fact.

Aeneas.

By all that’s good . . .

Dido.

By all that’s good, no more!

All that’s good you have forswore. To your promis’d empire fly And let forsaken Dido die.

Aeneas.

In spite of Jove’s command, I’ll stay. Offend the Gods, and Love obey.

Dido.

No, faithless man, thy course pursue; I’m now resolv’d as well as you. No repentance shall reclaim The injur’d Dido’s slighted flame. For ‘tis enough, whate’er you now decree, That you had once a thought of leaving me.

Aeneas.

Let Jove say what he will: I’ll stay!

Dido.

Away, away! No, no, away!

Aeneas.

No, no, I’ll stay, and Love obey!

Dido.

To Death I’ll fly If longer you delay; Away, away! . . .

Exit Aeneas.

But Death, alas! I cannot shun; Death must come when he is gone.

Chorus.

Great minds against themselves conspire And shun the cure they most desire.

Cupids appear in the clouds o’re Dido’s tomb. Dido.

Thy hand, Belinda, darkness shades me, On thy bosom let me rest, More I would, but Death invades me; Death is now a welcome guest.

When I am laid in earth, May my wrongs create No trouble in thy breast; Remember me, but ah! forget my fate.

Chorus.

With drooping wings you Cupids come, To scatter roses on her tomb.

Soft and Gentle as her Heart Keep here your watch, and never part.

FINIS

Apollo’s Fire London Residency – Join Us!

What better way to visit the England than in the company of the charming Apollo’s Fire musicians! Join us for all of the tour or any part of it. More details coming soon at apollosfire.org/join-us-in-london.

CONCERT SCHEDULE

FRIDAY, APRIL 24 – St. Martin-in-the-Fields

1:00pm CHAMBER CONCERT

Palaces & Pubs of 1610

7:00pm MAINSTAGE CONCERT

FENCING MATCH: Dueling Double Concertos

Apollo's Fire vs. The English Baroque Solosists

9:15pm Late-Night Bistro Concert in The Crypt (pub)

BAKLAVA BASH: A Middle Eastern Celebration

SATURDAY, APRIL 25 – St. Martin-in-the-Fields

7:00pm MAINSTAGE CONCERT

O JERUSALEM! – Crossroads of Three Faiths

SUNDAY, APRIL 26 – Snape Maltings, Aldeburgh

7:00pm FENCING MATCH: Dueling Double Concertos

Please let us know if you are interested in coming, so that we can keep you informed of hotel recommendations and optional activities for Apollo's Fire patrons. Contact the Apollo's Fire Box Office at 216.320.0012 x 1 or email info@apollosfire.org.

Notes on the Program

A Scandalous Opera for Modern Times

by Jeannette Sorrell

1. School & Scandal

“One hears that Josias Priest’s School for Girls is highly recommended, but he hath lately had an Opera, which I’m sure hath done him a great injury; & the Parents of the Children not satisfied with so Publick a show.”

Thus reads a 1691 letter from an Englishwoman searching for a proper education for her young daughter. To the best of our knowledge, the opera which upset the parents of the schoolgirls so much was Purcell's Dido & Aeneas, which most scholars believe received its premiere at Priest's boarding school in Chelsea in 1689.. While there is some conjecture about a possible earlier performance at court, there is no surviving evidence of this. What survives is the printed libretto from the school performance.

An opera about a queen who succumbs to her attraction for a man she doesn’t know well, consummates her love with him one night (without a marriage ceremony), and is abandoned by him the next – this is hardly recommended material for young girls, even today. One is tempted to ask, what were Purcell and his friend Priest thinking of, choosing this subject for their drama club?

And why did Purcell and his librettist, Nahum Tate, devote their great talents to writing for a local prep school? Maybe they did it as a favor to a colleague. Josias

Title page of the libretto for Purcell's Dido & Aeneas

Purcell's Dido & Aeneas

Priest, who ran the school with his wife, was an active dancing-master in the London theatrical scene. Whatever the reason, the collaboration between Purcell, Priest and Tate may have resulted in a ruckus for the school, but on an artistic level it produced one of the masterpieces of the century.

II. A Groundbreaking Opera

Dido & Aeneas is the jewel of English opera - a landmark in opera history that has fascinated audiences for three hundred years. Like the title character herself, Dido the opera broke all the rules. It is a miniature tragic opera in English, composed at a time when operas were long, rarely tragic and never in English. Whether because of this or because of difficult political overtones, the opera lay neglected throughout Purcell’s lifetime. The parents of Priest’s school must really have stamped it out!

Dido & Aeneas is extraordinary in the baroque opera repertoire for several reasons. Purcell’s music is unique in its daring harmonic language and uneven phrases. In the case of Dido, there is also an overwhelming sense of compression and tension – both musical and dramatic – that runs through the entire opera. It seems as if Purcell did not want to waste a single note. Thus the action is very fast-paced – Dido struggles with her love, gives in, goes on a hunting party with her lover, watches his crew prepare to embark, fights with him upon parting, and ends her life – all in one day, but as Purcell set it for us, all in one hour.

The culmination of this tension is Dido’s famous lament. Here, the four-part orchestral accompaniment with its exceptional dissonance and ever-winding phrases creates an extraordinarily poignant and inexorable drive to the finish.

III. Gods & Witches

Purcell and Tate based their opera on the ancient Roman myth of Dido and Aeneas as told in Virgil’s Aeneid (19 BC). In Virgil’s tale, Aeneas is summoned by the gods (specifically their messenger, Mercury) to leave Carthage and travel on to Italy, where he will found the city of Rome. Purcell and Tate, writing in the late 17th century, modernized the tale by changing the gods to witches. For a British audience in 1689, witches were a contemporary concept that some people took seriously. (The Salem Witch Trials in Massachusetts would erupt just 3 years later, leading grimly to the execution of 19 unfortunate “witches.”)

Henry Purcell by John Closterman, 1695

Notes on the Program (continued)

A 3rd-century Roman mosaic of Virgil seated between Clio and Melpomene (from Hadrumetum [Sousse], Tunisia)

I think it is fascinating to observe the shifting concept of morality as this tale has evolved over thousands of years. While the gods of ancient Greece and Rome were essentially above all questions of good or evil, Purcell’s Sorceress and her Witches are definitely evil. This changes the moral balance of the Aeneas story. In the Roman myth, Aeneas was considered a great hero without question – even though he mistreated Dido and caused her to commit suicide. Deceiving and betraying a woman were not cause for concern in ancient society.

Seventeen centuries later, Purcell and Tate are ready to at least consider a woman’s point of view in this story. By replacing the gods with witches who clearly embody evil, they offer the possibility that Aeneas’ abandonment of Dido could be considered a moral failing. – Which leads us to the question…

IV. Fate vs. Ambition

Does Fate (or the gods) control our lives, as the ancient world believed? Or are we perhaps responsible for our own decisions? – a much more modern perspective. In posing this question, I feel that Purcell and Tate are transforming an ancient tale into a timeless one that speaks to us passionately today. The tension between these two worldviews – the ancient and the modern – erupts in the final scene, which is so tautly set by Purcell that the intensity flames briefly and leaves us breathless:

AENEAS: What shall lost Aeneas do?

How, royal fair, shall I impart

The god’s decree, and tell you we must part?

DIDO: Thus on the fatal banks of Nile

Weeps the deceitful crocodile!

Thus hypocrites that murder act, Make heaven and gods the authors of the fact.

So, while Aeneas laments that he is just a puppet of the gods, Dido calls him a hypocrite – because she feels that we humans are responsible for our own actions. She casts him away because ultimately, she cannot bear to be around

Purcell's Dido & Aeneas

a man who refuses to take responsibility for his actions. Most women today would identify with this.

Like all great works of art, Purcell’s opera allows each of us to respond differently. And each of us can ponder the dilemma between love and ambition, fate and individual will, duty and destiny.

©2025 Jeannette Sorrell | Cleveland, OH

A NOTE ON OUR PRODUCTION CONCEPT

I have always felt strongly that Purcell’s Dido & Aeneas (as well as his Masques) were meant to be performed in the Shakespearean tradition. Purcell’s Fairy Queen is an adaptation of Shakespeare’s A Midsummer Night’s Dream. And Dido was premiered just 70 years after Shakespeare’s death. The vibrant tradition of Elizabethan theatre was surely not dead yet. (It is still very much alive now at the reconstructed Globe Theatre in London.)

What do we know about that tradition? Quite a bit. It was designed to appeal to everyone – the commoners as well as the aristocracy. The Globe Theatre was where the upper and lower classes of London society came together. Spoken lines were fast paced, with actors frequently interrupting each other. The audience was three-quarters in the round. The aristocracy sat in the boxes, while the “Groundlings” (commoners) stood on the floor near the stage, without seats. The actors moved around constantly, in order to engage the spectators on all sides – including the Groundlings at their feet. The overall scene was lively, fast paced, and very casual.

While our performances this week are not a staged production, I have tried in this production to emulate some of the faster-paced and lively qualities that made 17th-century British theatre so distinctive. I feel that the solo singing and dramatic pacing in most Dido performances today is far too slow. This is why I have chosen to take responsibility for both the musical and dramatic direction of these performances.

A word about the Prologue – the music for Purcell’s original Prologue is lost. And the lyrics of the Prologue were a product of the time: innuendo about current political events, spoken by allegorical characters, with little meaning for a 21st-century audience. I decided to write a new prologue that introduces the themes of the opera and takes Dido back to its roots as a prep-school drama for girls. – J. Sorrell

INVEST ENGAGE INNOVATE LEAD

Investing state and federal dollars, the Ohio Arts Council funds and supports quality arts experiences for all Ohioans to strengthen communities culturally, educationally, and economically.

Learn more about our grant programs andresources, find your next arts experience, or connect: OAC.OHIO.GOV.

Grantee Spotlight: OHIO DESIGNER CRAFTSMEN

Guest artist Michael Kline presents a demonstration at the 2023 Functional Ceramics Workshop. Held at the Wayne Center for the Arts, this annual event is presented by Ohio Designer Craftsmen. Image credit: Matt Neff

HELLO CHICAGO!

Welcome, and thank you for being part of our landmark fifth season. As the new President of AFChicago’s Board of Directors, I’m delighted to share with you some of our most exciting news.

New staff. We are thrilled to welcome three fantastic people to the AF team. DAVID WALKER began his tenure as Managing Director this summer. As head of the entire AF organization, David brings a wealth of experience in baroque music, arts management, and fundraising. He is spending several days each month in Greater Chicago. We also welcome our two new Chicago-based staff:

DAVID SANDS, Senior Advancement Manager, who brings years of Chicago arts experience to his new role in development and expanding our partnerships; and TIKAL RIVERA , Marketing & Community Relations Manager, who is helping us build community connections and reach new audiences. Read more about them on the next page. They’d love to hear from you!

Architectural gems. This year we introduce you to two stunning spaces. On Sunday, December 14, we showcase a gorgeous and seldom-seen architectural masterpiece in Little Italy: The Church of the Holy Family, which survived the Great Fire of 1871. The haunting strains of AF’s Praetorius Christmas Vespers program provide the perfect complement to the soaring altarpiece.

Then on April 19, we invite you to the newly renovated, historic KAM Isaiah synagogue in Hyde Park. There we will perform Jeannette Sorrell’s acclaimed multicultural program O Jerusalem! Crossroads of Three Faiths, which is also coming to Evanston and the Chicago Cultural Center. This soulful and uplifting program features a fascinating ensemble, including Palestinian and Israeli musicians who are dear friends.

Get involved! Lastly, would you like to host a house-concert, or join an AF committee? There are many ways to volunteer. Contact us at AFChicago@ apollosfire.org for details. Also, for your $100 annual donation, you’ll be added to the rolls of the Chicago Friends of Apollo’s Fire and invited to special, intimate events in beautiful spaces throughout the year. Your donations make our concerts and educational programming possible. Again, thank you and a heartfelt welcome. Together we are bringing music of the past to audiences of today, with Passion. Period.

Elisa K. Ross, M.D., President of the Board Apollo’s Fire-Chicago

JOIN THE CHICAGO FRIENDS OF APOLLO’S FIRE

• Invitation to at least one Apollo’s Fire Soirée (house concert) per year.

• 2 Bring-a-Friend coupons to an AF subscription concert in Greater Chicago (must call the box office to redeem)

• A bonus “sun” pin symbolizing membership in Apollo’s Fire.

October 15-21

October 18

CATCH JEANNETTE ON THE PODIUM on both sides of the Atlantic!

New York Philharmonic - Mozart & Bologne

New York Philharmonic - Young People’s Concert

October 30- Indianapolis Symphony

November 2 Vivaldi Four Seasons with Francisco Fullana, violin

November 20-23 The Florida Orchestra - Handel, Haydn, and Mozart

December 3-6 Manchester Hallé Orchestra, UK Handel’s Messiah

January 22-25

Detroit Symphony - Vivaldi Four Seasons

February 26- Oregon Symphony - Vivaldi Four Seasons

March 1 with Avi Avital, mandolin

May 14-17

CityMusic Cleveland - Beethoven & Mendelssohn

MEET OUR NEW CHICAGO TEAM

DAVID WALKER, Managing Director - Apollo’s Fire

David Walker is a highly motivated, innovative, and visionary executive with strong experience in strategic planning, financial management, operational effectiveness, as well as organizational development and oversight. He has proven skills in fundraising (regularly securing five, six, and sevenfigure gifts), marketing, and audience development, as well as strong dedication and leadership to educational and engagement programming, and equity, diversity, and inclusivity initiatives. Prior to his arts administration career, David had an 18-year international singing career – performing mostly Baroque, Early Classical, and Contemporary repertoire – throughout the United States, Canada, Europe, Australia and Russia, with some of the most prestigious opera houses and orchestras in the world, including the Metropolitan Opera. He appears on audio and video recordings. David is a certified fundraising executive (CFRE), holds a Bachelor of Arts, a Master of Music, as well as a Master of Arts and a Master of Business Administration. He has also completed the highly regarded Harvard Business School’s Executive Education program ‘Strategic Perspectives in Nonprofit Management’. (learn more about David on page 40)

DAVID SANDS, Senior Advancement Manager

Prior to joining Apollo’s Fire, David served as Senior Manager of Artistic Engagement at the People’s Music School—a nonprofit program which provides tuition-free music education to over 800 children across Chicago. He holds Bachelor’s and Master’s of Music degrees in cello performance from DePaul University, where he now serves as adjunct faculty for music education. As a performer and pedagogue, David served as a clinician of the Chicago Symphony Orchestra, teaching artist for CSO Connect, Assistant Principal Cello of the Chicago Civic Orchestra, and led masterclasses at DePaul and North Park University. As the Founder & Executive Director of playOUT!, he strives to amplify LGBTQIA+ artistry in classical music through performances, commissioned works, and community partnerships.

TIKAL RIVERA, Marketing & Community Relations Manager

Tikal Rivera is a multi-disciplinary artist and arts administrator from Chicago, Illinois with extensive experience working in non-profits arts organizations in operations, financial aid distribution, and communications. She has also worked as an arts instructor and freelance artist on various artistic projects throughout the country. She is dedicated to making creative organizations and spaces in the city more accessible for artists of all backgrounds and creating spaces for artistic community. She holds a Bachelor of Fine Arts from DePaul University.

MEET THE CHICAGO BOARD

Building a Second Home for Apollo’s Fire in Chicago

Elisa Ross, M.D. President

Michael Angell

Patricia Costante

Florence Nelson

Patricia (“Patti”) Skigen

Chuck Bittenbender

Blondean Davis, Ed.D.

Phillip Rowland-Seymour

Jeannette Sorrell ex officio

Stephanie Champi

Rosalind Jackson, Ph.D.

James C. Sheinin, M.D.

David Walker ex officio

Katrina Pipasts President Emeritus Doug Miller Vice President

Marietta McPike

Shay Olson Treasurer

MAKING MIRACLES

EVERY DAY in South Suburban Chicago

“When my child plays the violin, it speaks to my heart and soul, and reminds me that here in this great county, nothing is impossible.”

– Mother of a student in the SIDE-BY-SIDE program

Eric Gratz leads the Southland H.S. Strings

Now entering its fifth year, our Side-by-Side Strings program in Matteson 162 (south-side suburb) is training the next generation of classical music students from underrepresented backgrounds. Over 80 students study with our six teaching artists. We’ll hear these gifted students give a “Prelude” performance at one of our concerts this season.

As our Chicago-based teaching artists work with these students, we are inspired by their progress. “We are a proudly diverse community, a hard-working community,” said award-winning superintendent, Dr Blondean Davis. “The support from the parents is tremendous.”

This string program costs over $100,000 per year. How is Matteson 162 paying for it? “With difficulty,” says Dr. Davis. “We are used to pulling off miracles. Not a penny is wasted. But we urgently need donations from the arts-loving community.”

If you would like to make a tax-deductible donation to the SIDE-BY-SIDE program, please call Apollo’s Fire at 800.314.2535, or donate online at apollosfire.org/support/ –in the drop-down PayPal menu, choose “Side by Side/Matteson.”

Thank you for believing in us. We can’t wait for you to hear our students this year!

Southland Strings Students in Concert

CHICAGO FRIENDS OF APOLLO’S FIRE

Thank you to our donors in Greater Chicago!

This list recognizes donations made between September 23, 2024 and September 23, 2025. Every effort has been made to ensure its accuracy. Please email rroberts@apollosfire.org with any errors or omissions.

CONDUCTOR’S CIRCLE

($25,000+)

Anonymous

William Lawlor

Marie Rowley

MOUNT OLYMPUS CIRCLE

($10,000 - $24,999)

Joyce Chelberg

Patricia Costante

Illinois Arts Council

Drs. Jonathan & Elisa Ross

Dr. & Mrs. James & Rita Sheinin

Elizabeth Walder

VERSAILLES CIRCLE

($5,000 – $9,999)

Judy Bundra

Stephen & Maria Lans

ESTERHAZY CIRCLE

($2,500 – $4,999)

McMaster-Carr Supply Company

Shay & Gary Olson

Peggy Porter

Patricia Skigen

MEDICI CIRCLE

($1,000-$2,499)

Stephen Ban

Cynthia Bates

Brian & Carol Duffy

Lilly Eng

Marilynne Felderman

Paul Herman

Scott Lassar

David & Kim Mulligan

Donald Newsom

Katrina Pipasts

Prof. Fred Rasio

Lynne & Ralph Schatz

Jeffrey Strauss

BRANDENBURG CIRCLE

($500 – $999)

Bruce Baumberger

& Ann Weatherhead

Suzanne Bible

Michael Breen

Michael Brennan

Patricia Carlson

Michael Coleman

Martha Anne Driscoll

Bonnie Forkosh

Dr. Geoffrey Hewings

Joan Safford

Renetta Shapiro

Susan Turner

Audrey Weaver

BUCKINGHAM CIRCLE

($250 – $499)

Ophelia Barsketis

Gisela Brodin-Brosnan

James Cockey

Derek L. Cottier

James A. Denton

Mary Dold

The Echle-Walters Family Fund of InFaith Community Foundation

Charlie Grode

Susan & Jeffrey Gumbiner

Charles W. Hayford

James Heup

Ryan Kin

Lisa Kohn

Martha Lavelle

In honor of Lilly Eng

Louella Levey

John Mroczka

Flo Nelson

Bobbie Rudnick

Suzanne Maris Santos

Juan Solana

Kok-Chi Tsim

Susan Vonnegut

SUPPORTER CIRCLE

($100 – $249)

Dr. Steven Andes

Marjorie Benson

Steve Berlin

Marguerite Bookstein

Alan Brown

Charles Capwell

David E. Chinitz

Ann Cole

Ellen Dalton

Barbara & Michael Davis

Mark Deger

Geoffrey Decker

Robert Dirks

James Downey

Linda Mary Eastwood

Elena Esman

Alexis Fama

Timothy Fox

Frances Gasbarra

Sandra Garber

Elisabeth & Bob Geraghty

Susan Haddad

Janet Halstead

Ronald Hilton

Rose Karasti

Daniel Kearney & Judy Erickson

Robert Kudder

Margaret Mallett

Maureen McGrath

Janet Messmer

Cindy Miller Aron

Jeffrey Miller

Sarah Miller

Robert Mortenson

David Oxtoby

Joan Paul

Stacy Ratner

Sara Schastok

Maureen M. Schoenbeck

Jean E. Shedd

Rand Sparling

Richard Stalmack

Linda Stengel

Mary Pat Studdert

Richard Sullivan

Mary Torgerson

Linda Townsend

Yuliya Waldron

Chris Werwicki

Howard S. White

Paul Wiggin

Apollo’s Fire Family Concerts

45-minute Interactive Programs for ages 6-96!

Mozart & bologne: The Boy Wonders

One was an amazing pianist. The other was a stunning violinist and swordsman. Both were child prodigies – special kids with off-thecharts talent. Mozart and Bologne came from very different parts of the world. One summer, they met – and then the magic began… Five Apollo’s Fire musicians join with an incredible young violin soloist as we explore what it’s like to be a young musical superstar!

Pre-registration (FREE!) is strongly encouraged. Scan the QR code for registration link, or visit apollosfire.org/ family.

Saturday October 25, 11:00am HUDSON Library

Saturday October 25, 3:30pm

CLEVELAND Museum of Natural History

Sunday October 26, 2:00pm AKRON Art Museum

THE APOLLO'S FIRE

Whether you are in Northeast Ohio or Greater Chicago Indulge your addiction to AF’s “joyous

OCTOBER: OHIO 3 & 9-12 | CHICAGO 4-5

PURCELL’S Dido & Aeneas

A Dramatic Concert Presentation

The season opens in Ancient Egypt with a poignant legend of love and betrayal. Purcell's 17th century opera Dido & Aeneas is a gem of the baroque repertoire. The program also includes sparkling instrumental dances from Purcell’s King Arthur and The Fairy-Queen.

NOVEMBER: OHIO 7 & 8 (SEVERANCE HALL)

MOZART'S Requiem A TAPESTRY

Apollo’s Fire premieres a bold new program reflecting the vibrant tapestry of today’s society. In this journey through grief to hope and joy, Sorrell interweaves the movements of Mozart’s unfinished Requiem with selections from related spiritual works by three leading Black composers.

DECEMBER: OHIO 12 & 18-21 | CHICAGO 14-15

PRAETORIUS Christmas Vespers

Praised as “a sheer delight” (NY Times), AF's acclaimed Christmas program returns! The cathedral resounds in a splendor with antiphonal choirs trumpets, sackbuts, cornettos, lutes, harp, strings and recorders. Children’s voices shine in this haunting and joyous celebration of the Christ child.

JANUARY/FEBRUARY: OHIO 29-1 | CHICAGO 3-4

WINTER Sparks from Bach & Vivaldi

In this cozy winter program, eight AF musicians set sparks flying in virtuoso works of J.S. Bach, Telemann, Vivaldi, and more. Debra Nagy takes the spotlight in a lively Vivaldi oboe concerto, while Kathie Stewart and Alan Choo lead a fiery chamber performance of Bach’s Orchestral Suite no. 2

TICKETS & SUBSCRIPTIONS ARE ON SALE NOW! CALL

FIRE 2025-2026 SEASON

Chicago become a subscriber and save up to 20%! “joyous spontaneity” (THE NEW YORKER).

MARCH: OHIO 5-8

Palace of VERSAILLES

Apollo’s Fire visits the palace of Louis XIV – the Sun King, who was known to dress as our muse Apollo. The gorgeous music of Lully, Marais, and Rameau shows the orchestra at its finest. Flutes and theorbos join the strings in the sumptuous program full of the majesty of 17th-century France.

APRIL: OHIO 9-11 | CHICAGO 17-18

O Jerusalem!

Crossroads of Three Faiths

This evocative program is a loving tribute to the peoples whose music and faith brought such vibrancy to the Middle East. The rhythms of daily life – love, singing, dancing and prayer – culminate in a joyous celebration of shared humanity.

APRIL 16: OHIO – SPECIAL TOUR SEND-OFF

Fencing Match

Round Two

Inspired by the 18th-century tradition of instrumentalists facing off in friendly yet breathtaking displays of skill, AF principal players step into the spotlight with double-concertos by Bach, Vivaldi, and more. This program heads to London following the local performance!

Apollo’s Fire London Residency – Join Us!

APRIL 24-25: ST. MARTIN-IN-THE-FIELDS

Pubs & Palaces of 1610; Fencing Match - AF vs. The Brits! with the English Baroque Soloists; Baklava Bash - A Middle Eastern Celebration; and O Jerusalem!

APRIL 26: SNAPE MALTINGS, ALDEBURGH

Fencing Match

–more details on pg. 17–

Soloist Profiles

Mezzo-soprano ARYSSA LEIGH BURRS is hailed for her “rich sound and thoughtful musical ideas’’ while “transcending vocal styles and genres with flexibility and ease” (DC Theater Arts). Recent and upcoming soloist engagements include, Nerone (Poppea, InSeries Opera), Bach’s St. John Passion (Clarion Music Society, The Thirteen), Messiah (The Thirteen), Minerva (Return of Ulysses, InSeries Opera), Wassail! (Apollo’s Fire), BWV 7 (Bach Choir of Bethlehem), and in May 2025, Copland’s In The Beginning (Cathedral Choral Society). Aryssa performs with ensembles such as The Crossing, The Thirteen, Clarion Music Society, and Ensemble Altera. Her comfort in various styles is best heard as a founding member of Lyyra, the internationally touring, 6-voiced women’s ensemble from the Voces8 Foundation, which was recently signed to Warner Classics. Lyyra is making strides in the vocal world by promoting women’s voices while performing a wide range of genres for diverse audiences.

With a voice described as “velvet-toned” (BBC Music Magazine), and praised for his “appealing, midweight baritone” (The New York Times), “forthright agility and bold declamation” (Musical America), baritone EDWARD VOGEL is recognized as a sensitive, versatile performer. Recent highlights include solo appearances with the New York Philharmonic, Apollo’s Fire, the Tucson Symphony, and ensemble work with Theatre of Voices, the Bach Collegium Japan, and the Yale Schola Cantorum, with whom he has participated as a soloist in recordings on the Hyperion label. In 2024, he received a GRAMMY® nomination for his work as a soloist on Apollo’s Fire’s recording of Handel’s Israel in Egypt. An avid recitalist, Mr. Vogel’s specialties include British art song of the twentieth century, music from Medieval and Renaissance Iberia, and works by Gustav Mahler; his intimate interpretations of art song have been heard onstage at celebrated venues including the Tanglewood Festival and Wigmore Hall.

ANDRÉA

WALKER, soprano, is hailed as “luminous” and “ethereal” (Washington Classical Review). Dedicated to heartfelt and dramatic historically-informed performance, she sings across the country with ensembles including GRAMMY® Award-winning orchestra Apollo’s Fire, Atlanta Baroque, Pegasus Early Music, NYS Baroque, Harmonia Stellarum Houston, and Ars Lyrica Houston. As a recitalist, she has performed alongside keyboardist Mikhail Grazhdanov (Duo CPE) at the Early Music Seattle Beyond Baroque festival, Cornell Center for Historical Keyboards, Boston Early Music Festival, and Early Music America Summit. Other recent solo engagements include her Lincoln Center debut in Telemann’s Der Tag des Gerichts with Masaaki Suzuki and JuilliArd415 and the 2025 Carmel Bach Festival, where she was a Virginia Best Adams Vocal Fellow. Andréa received a Doctorate of Musical Arts in historical performance practice

Soloist Profiles (continued)

from Case Western Reserve University and holds degrees in vocal performance from the Yale Institute of Sacred Music and University of Houston.

With “a voice of rare beauty” (Seen and Heard International), American countertenor CODY BOWERS has received awards from the Sullivan Foundation, the Metropolitan Opera Laffont Competition, and the George London Foundation for Singers. In 2023 Mr. Bowers debuted with the New York Philharmonic, Atlanta Symphony, the Houston Symphony, Apollo’s Fire, and the Metropolitan Opera. He has performed at the San Francisco Opera War Memorial Opera House, Stern Auditorium at Carnegie Hall, and with San Diego Opera, Minnesota Opera, Utah Opera and the Atlanta Opera. He is also a 2019 Boston Early Music Festival YATP alumnus. Operatic credits include Tolomeo in Giulio Cesare in Egitto, Refugee in Dove’s Flight, Federico Garcia Lorca in Ainadamar, Leonardo in El último sueño de Frida y Diego, L’Enfant in L’enfant et Les Sortilèges, the title role in Handel’s Orlando, and a 2023 debut as Ruggiero in Handel’s Alcina.

KRISTINE CASWELCH, soprano, uses a wide variety of genres and styles to highlight and share stories outside the dominant narrative. Described as having a “sparkling voice, great diction and sprezzatura” (Boston Musical Intelligencer), Kristine has appeared on SNL in a choir alongside GRAMMYwinning artist Sam Smith, as a soloist with Indianapolis Baroque and Apollo’s Fire, and in choruses including Apollo’s Singers, the New York Philharmonic, and Les Délices. Kristine participated in Boston Early Music Festival’s Young Artist Training Program, appearing in Desmarest’s Circé (Chorus) and Élizabeth Jacquet de La Guerre’s Cephale et Procris (Dorine). Kristine’s recording work includes: soloist on the Billboard topping The Great Glad Tidings Tell, and in choruses for Apollo’s Fire’s GRAMMY®-Nominated Israel in Egypt (2023), O Jerusalem! (2022), and on Mushroomhead’s A Wonderful Life (2020).

Soprano ELORA KARES is a sophomore at CIM, studying cello with Si-Yan Darren Li and voice with Dina KuznetsovaToliver. As a Josephine Valencic Scholar in the Academy at CIM, she studied cello, voice, and composition, earning a 2024 CIM Outstanding Academy Student Award and a 2022 Jack Kent Cooke Award. Elora won first place in the 2023 Lakeland Orchestra Competition, the 2024 Suburban Symphony Competition (in both cello and voice), and the 2023 and 2024 Ohio NATS Voice Competitions, in addition to a 2024 Young Composers Award. Elora has appeared on NPR’s From the Top and their DailyJoy series. She has participated in Carnegie Hall’s NYO program, the New World Symphony’s VIA Initiative, and InterHarmony Italy. Operatic roles include Amahl in Cleveland Opera Theatre’s Amahl and the Night Visitors, and Lieschen in Bach’s Coffee Cantata for AF’s Bistro Series. Elora is a Young Artist Fellow with Apollo’s Fire.

Jeannette Sorrell, Artistic Director

“Sorrell is an absolute dynamo onstage and a pleasure to see conduct… a force to be reckoned with.”

–SAN FRANCISCO CLASSICAL VOICE

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 Oscar-winning director Allan Miller’s documentary, PLAYING WITH FIRE: Jeannette Sorrell and the Mysteries of Conducting, commercially released in 2023.

Bridging the period-instrument and symphonic worlds from a young age, she studied conducting under Leonard Bernstein, Roger Norrington and Robert Spano at the Tanglewood and Aspen music festivals; and studied harpsichord with Gustav Leonhardt in Amsterdam. She won First Prize in the Spivey International Harpsichord Competition, competing against over 70 harpsichordists from four continents.

As a guest conductor, Sorrell made her New York Philharmonic debut in 2021 to rave reviews and returned in 2023. She has repeatedly conducted the Pittsburgh Symphony, St. Paul Chamber Orchestra, Seattle Symphony, Los Angeles Chamber Orchestra, Philharmonia Baroque in San Francisco, and New World Symphony, among others; and has also led the Philadelphia Orchestra, Royal Scottish National Orchestra, Royal Liverpool Philharmonic, Festival Orchestra of Lincoln Center (NYC), Baltimore Symphony, the National Symphony at the Kennedy Center, Houston Symphony, Indianapolis Symphony, New Jersey Symphony, Royal Northern Sinfonia (UK), and the Orchestra of St. Luke’s at Carnegie Hall, among others. Upcoming engagements in 2025-26 include return engagements with the New York Philharmonic, Detroit Symphony, Indianapolis Symphony, and Detroit Symphony, and debuts with the Manchester Hallé Orchestra (UK) and the Oregon Symphony,

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 34 commercial CDs, including 13 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” (2022).

With over 20 million views of her YouTube videos, Sorrell has attracted national attention and awards for creative programming. She received an honorary doctorate from Case Western Reserve University and an award from the American Musicological Society.

Apollo's Fire Baroque Orchestra

“Sorrell and her dazzling period band… are incandescent”

– THE SUNDAY TIMES, London

GRAMMY®-winning ensemble

Apollo’s Fire is praised as “the USA’s hottest baroque band” (Classical Music Magazine, UK). Led by award-winning harpsichordist and conductor Jeannette Sorrell, the period-instrument orchestra is dedicated to the baroque concept of moving the passions of the listeners.

Apollo’s Fire has performed six European tours, with sold-out concerts at the BBC Proms in London, Madrid’s Royal Theatre, Bordeaux’s Grand Théàtre de l’Opéra, St Martin-in-the-Fields, the Heidelberg Spring Festival, the National Concert Hall of Ireland, and venues in Germany, 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 (several times), the Metropolitan Museum of Art in New York City (several times), the Boston Early Music Festival series, the Aspen Music Festival, Library of Congress, the National Gallery of Art, and major venues in Toronto, Los Angeles, and San Francisco. Apollo’s Singers have twice performed with the New York Philharmonic under the baton of Jeannette Sorrell, winning rave reviews.

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

With over 20 million views of its YouTube videos, Apollo’s Fire has released 34 commercial CDs and won a GRAMMY® award in 2019 for the album Songs of Orpheus with tenor Karim Sulayman. Thirteen 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.

VIOLIN I

Alan Choo, concertmaster

Apollo's Fire

Emi Tanabe, ass't concertmaster

Freya Creech

VIOLIN II

Chloe Fedor, principal

Andrew Fouts

Hanna Bingham

VIOLA

Elizabeth Hagen, principal (10/3-10/5)

Nicole Divall, principal (10/9-10/12)

Yaël Senamaud-Cohen (10/3 & 10/9-10/12)

CELLO

René Schiffer, principal

HyunKun Cho

CONTRABASS

Sue Yelanjian, principal

RECORDER

Kathryn Montoya, principal

Kathie Stewart

LUTES

William Simms, principal

Brandon Acker

HARPSICHORD

Peter Bennett

Jeannette Sorrell

SOPRANO

Andréa Walker, soloistº

Kristine Caswelch, soloist

Elora Kares, soloist*

Sophia Duray

Paulina Francisco

ALTO

Cody Bowers, soloist

Kira McGirr

Joseph Schlesinger

Apollo's Singers

TENOR

Matthew Newhouse

Michael St. Peter**

Mark Murphy Vogel

BASS

Edward Vogel, soloist

Michael Galvin**

Seth Hobi (10/4-10/5)*

Samuel Kreidenweis**

Francisco Prado (10/3 & 10/9-10/12)

Anne Wilson, rehearsal accompanist

*Young Artist Fellow | ºMOSAIC Fellow | **Soloists in Sea Shanties

Welcome Managing Director David Walker

Following an 18-year operatic career with some of the most prestigious opera houses and orchestras around the world, David Walker is now one of the country’s leading arts administrators.

He has extensive experience managing successful fundraising and marketing campaigns, as well as strategic and financial initiatives, for arts organizations across the country, most recently as General and Artistic Director of Palm Beach Opera. During his 9-year tenure with the opera, he raised over $40 million in contributed income; spearheaded the marketing strategies leading to 900+ new ticket-buying households in both of his last two seasons; increased the quality and reputation of the company’s artistic production and young artist training; expanded its free education and community engagement activities; and led the organization’s diversity, equity, and inclusion initiatives.

Within the first nine months of COVID, Mr. Walker also received international recognition for his strategic planning of producing full-scale, outdoor performances for audiences reaching 800 attendees, being one of the first performing arts organizations in the country to do so at that time.

Prior to Palm Beach Opera, Walker served as Director of Development at North Carolina Opera and in development and marketing positions with the Glimmerglass Festival and Sarasota Opera. He is a frequent guest lecturer on the business of performing arts and often serves on vocal competition adjudicating panels, including the Metropolitan Opera Laffont National Council Auditions – a competition he himself won in 1998.

Prior to his arts administration career, Walker performed as a countertenor soloist throughout North America, Europe, Australia, and Russia, appearing with the Metropolitan Opera in New York, Chicago Lyric Opera, the English National Opera in England, the Academy of Ancient Music with Christopher Hogwood, and the Goettingen Handel Festival with Nicholas McGegan, among others. He appears on both studio and live audio and video recordings.

Walker holds a Bachelor of Arts in industrial engineering, a Master of Music in vocal performance, and a Master of Arts and Master of Business Administration, both with an arts administration focus. He has also completed the highly regarded Harvard Business School’s Executive Education program ‘Strategic Perspectives in Nonprofit Management’, and is a Certified Fundraising Executive (CFRE).

Meet our New Staff Members

KELLY COSGROVE

Patron Services Manager

A native of both Cleveland and Chicago, Kelly earned her Bachelors of Fine Arts in Stage Management from Kent State University. After working at Porthouse Theatre and Playhouse Square, Kelly spent 11 years as a Stage Manager in Chicago before returning to Porthouse Theatre as a Production Stage Manager. Kelly closed her time in Chicago as Guest Services Supervisor for Hamilton: The Exhibition, where she welcomed thousands of guests daily. Now returned to Ohio, Kelly is thrilled to serve as Patron Services Manager for Apollo’s Fire.

CARSYN AVEGNO

Community Engagement & Operations Coordinator

Carsyn Avegno holds a Master of Arts in Cultural and Arts Management from the University of Winchester in the United Kingdom where her thesis focused on creating accessibility within the arts world. She also holds a Bachelor of Arts in Communication with a minor in Theatre from Southeastern Louisiana University.

SHANNON COOCH

Box Office & Hospitality Associate

Apollo’s Fire welcomed Shannon in 2025. A true Renaissance woman, Shannon has pursued her love of language and culture with a Bachelor’s degree from Nazareth University in Rochester, NY; and a Master’s in International Relations and Central and Eastern European Studies from George Washington University in DC. She has held positions in education, library services, and the hospitality industry; and has dabbled in vocal performance and theatre, from renaissance madrigals to classic rock.

AMY TARANTINO-TRAFTON

Manager

of Operations & Grants

Amy joined the Apollo’s Fire staff in 2025. She holds a Certificate in Nonprofit Management from Case Western Reserve University’s Mandel Center for Nonprofit Management. She is also a professional pianist, with Master’s and Bachelor’s degrees in piano performance from The Cleveland Institute of Music. Amy has developed and coordinated concert series, music theater productions, and community outreach projects in the US and Germany. She loves to help people from diverse backgrounds to engage in excellent arts and culture programming.

Musician Profiles

ALAN CHOO, violin, is Concertmaster and Assistant Artistic Director of Apollo’s Fire. His album of Biber’s Mystery Sonatas with AF debuted at #2 on the Billboard Classical chart, earning rave reviews from BBC Music Magazine, The Strad and Classica Magazine. Alan is Founder and Artistic Director of Red Dot Baroque, Singapore’s first professional baroque ensemble. He has appeared as soloist with FVG Orchestra (Italy), St. Petersburg Symphony, Singapore Symphony, and more. He holds a Doctorate in Historical Performance from CWRU.

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 in Chicago. 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.

HANNA BINGHAM, violin, is based in the greater Chicago area. Raised in Dekalb, Illinois, she holds a Bachelor of Music in violin performance from Northern Illinois University and earned her Master’s degree in string performance from Northwestern University’s Bienen School of Music. Hanna gained a strong love for early music from her time at Northwestern, where she studied with David Douglas of the Newberry Consort and Stephen Alltop. Hanna was previously a 2024-2025 Young Artist Fellow for Apollo’s Fire.

FREYA CREECH, violin, performs widely across North America and her native UK. This season includes appearances with Opera Lafayette, Apollo’s Fire, The Thirteen, and as Principal Second Violin with

Washington Bach Consort, and she also plays regularly with the Smithsonian Chamber Academy on their renowned collection of Strads. Freya collaborated with True Concord Voices & Orchestra on their most recent record, which earned a GRAMMY® nomination (2025) and she has also produced two albums of little-known solo violin music.

CHLOE FEDOR, violin, is known for her “lovely, plush, seductive tone” (New York Times) and “soulful, virtuosic” playing (Opera News). She is concertmaster/artistic advisor of Baroque programming at Lakes Area Music Festival, a core member of Apollo’s Fire and of ACRONYM, and frequent soloist with Four Nations Ensemble. She also appears with The English Concert, Handel & Haydn Society, Philharmonia, Tafelmusik, and Trinity-Wall Street Baroque Orchestras. She was featured on Broadway in Farinelli and the King.

ANDREW FOUTS, violin, has been noted for his “mellifluous sound and sensitive style” (The Washington Post). In 2008, he won the American Bach Soloists’ International Baroque Violin Competition. He is co-artistic director of Pittsburgh’s Chatham Baroque and a frequent concertmaster of the Washington Bach Consort. Andrew performs regularly with Apollo’s Fire, Opera Lafayette, Four Nations Ensemble, and Ars Lyrica. His teachers included Charles Castleman at the Eastman School of Music and Stanley Ritchie at Indiana University Jacobs School 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 ensembles including the Ohio Chamber Orchestra, Cleveland Chamber Symphony, and Sydney Philharmonia. She has appeared as Guest Principal with the Sydney Symphony, Handel & Haydn

Society, Albany Symphony, and as soloist with Apollo’s Fire and New York Baroque Incorporated. She is currently Principal Viola of Apollo’s Fire and a core member of Four Nations Ensemble.

ELIZABETH HAGEN, viola, is a graduate of Northwestern University and now enjoys an active career performing on modern and baroque violas in Chicago. She is principal violist of Music of the Baroque, Haymarket Opera and The Callipygian Players. She has performed with Lyric Opera of Chicago, Rembrandt Chamber Players, Chicago Opera Theatre, The Joffrey Ballet, The Newberry Consort and The Chicago Philharmonic. For the past nine summers, she has played with The Grant Park Symphony.

YAËL SENAMAUD-COHEN, viola, is recognized for her versatility in a wide variety of musical styles, including modern and baroque viola, baroque violin, and viola d’amore. She is Principal Viola of the South Carolina Philharmonic and of the Jackson Symphony, and has been a member of Apollo’s Fire, Indianapolis Baroque, and CityMusic Cleveland. She also regularly collaborates with Les Siècles, a period orchestra based in France. She is a graduate of the Conservatoire National de Paris and Peabody Institute.

RENÉ SCHIFFER, cello, is praised for this “interpretive imagination and patrician command of the cello” (Cleveland Plain Dealer). A native of Holland, he toured internationally with Sigiswald Kuijken’s La Petite Bande 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.

HYUNKUN CHO, cello, holds degrees from the Korea National University

Purcell's Dido & Aeneas

of Arts, Berlin University of the Arts, the Escola Superior de Música de Catalunya, and the Geneva University of Music, where he studied with luminaries of baroque cello including Markus Möllenbeck, Mitzi Meyerson, Bruno Cocset, Emmanuel Balssa, and Pedro Memelsdorff. His work has been recognized with awards from the International Telemann Competition, the Berliner-Bach Competition, and the International Competition Musica Antiqua Bruges. He has recently participated in acclaimed commercial recordings with the ensembles Au Pieds du Roy and Patrimonio Sonoro.

SUE YELANJIAN, contrabass, has performed with many of the leading North American baroque orchestras, including Relic, Tafelmusik, the Handel & Haydn Society, and Chatham Baroque. She has performed at the Carmel Bach Festival, Tanglewood, and Ravinia, 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.

KATHIE STEWART, recorder, is Curator of Historical Keyboard Instruments and Teacher of Baroque Flute at Indiana University’s Jacobs School of Music. She is a founding member and principal flutist of Apollo’s Fire, and has performed with ensembles including The Cleveland Orchestra, Tafelmusik, Portland Baroque, Philharmonia Baroque and the Washington Bach Consort. She is also Assistant Director of the Seattle Baroque Flute Workshop. Kathie is an avid proponent of Celtic music, playing Irish flute and whistle on several Apollo’s Fire recordings.

KATHRYN MONTOYA, recorder, appears with a variety of orchestral and chamber music ensembles including the Boston Early Music Festival Orchestra, Tafelmusik, Bach Collegium San Diego, and Handel &

Musician Profiles (continued)

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® awardwinning recording of Charpentier with BEMF, the Globe’s Tony award-winning Twelfth Night, and filling in on recorder with the Los Angeles Philharmonic.

WILLIAM SIMMS, lute, 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 Wolf Trap, Tanglewood, and the National Cathedral. He performed on the GRAMMY®-winning Songs of Orpheus with Apollo’s Fire and Karim Sulayman.

Chorister Profiles

SOPHIA DURAY, soprano, is pursuing a masters degree in the Historical Performance program at CWRU under Julie Andrijeski, Elena Mullins Bailey, and Dean Southern. She recently performed as a soloist with the Leipzig Baroque Orchestra, Boston Early Music Festival, and Alchymy Viols. Besides singing, Sophia learns and performs Baroque dance choreographies and teaches private voice lessons.

PAULINA FRANCISCO, soprano, is a versatile and engaging interpreter of Baroque and Classical music. Recent reviews have celebrated her as “a ray of sunshine” (The Guardian), and hailed her “agility, impact, and vibrant projection” (ClassyKey) which “preserves

BRANDON ACKER, lute, is a specialist on early plucked instruments. He runs a successful YouTube channel which has over 640,000 subscribers and 70 million views. In 2020, he and his wife founded the online music school Arpeggiato. Brandon’s performance career has evolved from playing in rock bands to his current focus playing early music. He has toured extensively through Canada, the US, and the UK, and is in high demand both as a soloist and continuo player.

PETER BENNETT, harpsichord, is Professor of Musicology 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.

a finesse of delivery allowing one to savor the ornamentation and agility” (Olyrix). Her 2025-2026 season includes engagements with Les Arts Florissants, Baroque Bruggen, TENET Vocal Artists, and the Washington Bach Consort.

MICHAEL GALVIN, bass-baritone, has performed with Boston Lyric Opera (La Bohème, Aida, Omar) and Boston Early Music Festival (Don Quichotte, Circé, Alcina, Orlando Generoso), appearing in BEMF’s Circé (CPO). Ensemble credits the Handel & Haydn Society, The Thirteen, and Nightingale. As drag artist Donatella Fermata, he recently starred as the Sorceress in Dido & Aeneas with Atlanta Baroque.

SETH HOBI, baritone, is currently pursuing a Master’s in voice at the University of Notre Dame’s Sacred Music program. He received his Bachelor’s degree in vocal performance from Cleveland State University and sings with Apollo’s Fire as a Young Artist Fellow. His work includes ensemble and solo singing in early music, oratorio, opera, and art song.

SAM KREIDENWEIS, baritone, has earned recognition for his expressive tone and dynamic stage presence. He frequently works with Skylark Vocal Ensemble, True Concord, The Leonids, Apollo’s Fire, and Anúna. Career highlights include the BBC Proms, Considering Matthew Shepard with Conspirare, and performing for the Japanese Royal Family. Recordings include the GRAMMY® Award-winning Rachmaninoff All-Night Vigil and four other GRAMMY-nominated albums.

KIRA McGIRR, mezzo-soprano, performs repertoire spanning from the Baroque to contemporary. She has sung solos in Mozart’s Coronation Mass and Requiem; Handel’s Messiah; Britten’s Rejoice in the Lamb; and Beethoven’s Mass in C Major, among many other works. Recently debuting with the Canton, Lima and Perrysburg Symphonies, Kira also sings with the Cleveland Chamber Choir and Cleveland Consort of Voices.

MATTHEW NEWHOUSE, tenor, brings evocative storytelling to the concert stage. Recent and upcoming ensemble and solo collaborations include projects with The Thirteen, Harmonia Stellarum, TENET Vocal Artists, Handel Choir of Baltimore, JuilliArd415, and Evergreen Ensemble. Matthew was a recent Virginia Best Adams Fellow at the Carmel Bach Festival. He holds a Master’s degree from the Yale School of Music.

Purcell's Dido & Aeneas

FRANCISCO PRADO, baritone, is in his eighth season with Apollo’s Fire. He has been heard throughout the greater Cleveland area, including performances with The Cleveland Opera, The Cleveland Orchestra Chorus, and as a soloist with The Cleveland Orchestra. Francisco is a graduate of CIM, and currently serves as the Director of Music at St. Rocco’s Catholic Church.

JOE SCHLESINGER, countertenor, attended Augustana College and DePaul University. He received a NetherlandsAmerica Foundation Fulbright Fellowship to study in the Netherlands where he sang with the Netherlands Opera and the Dutch Reisopera. He has performed with Quire Cleveland, Music of the Baroque, Seattle ProMusica, Vox Regis, and Madison Bach Musicians. He enjoys traveling with his husband and three sons.

MICHAEL ST. PETER, tenor, is a Chicago-based artist known for his “warm, beautiful and true” singing (John von Rhein). As a soloist, he has performed on notable stages in Chicago and New York including Pritzker Pavilion and Carnegie Hall. He performs regularly with ensembles including the Grant Park Symphony Chorus, Music of the Baroque Chorus, and William Ferris Chorale.

MARK MURPHY VOGEL, tenor, enjoys a varied career as a vocalist and keyboardist. Recent engagements include solo appearances with the Charleston Symphony and at Wigmore Hall, and projects with the Ad Astra Festival, Seraphic Fire, True Concord, The Crossing, and first prize in the 2021 Audrey Rooney Vocal Competition. Mark holds degrees from Westminster Choir College and the University of Notre Dame.

Innkeepers & Charioteers

Apollo’s Fire thanks the following patrons who generously provide accommodations and transportation for our musicians.

Ohio Innkeepers

Laura & Erol Beytas • Kathleen & Mark Binnig

Chuck & Christy Bittenbender • Terry Boyarsky • Laura DeLaney

Christine Elliott • Michael & Diane Ellis • Carol Engler

Debra & Gary Franke • Bob Galivan & Myriam Ribenboim

Walter Ginn • Stuart Hamilton • Lari & Peter Jacobson

Priscilla & Edward Kaczuk • Kandice Marchant • Bridget & Robert Marok

Marilyn & Tom McLaughlin • Jane Meyer • Linda Miller & Steve Forgerson

Donald Nash • Charlotte & John Newman • Linda & John Olejko

Donna & Joseph Pacchioni • Jane Richmond • Kasia & Douglas Rothenberg

Astri Seidenfeld • Anne Unverzagt • Herb & Jodie Wainer

Ed & Ellen Weber • Anthony Wesley & Al Cowgers

Cooper & Debbie White • Judy & David Young

Chicago Innkeepers

Joyce Chelberg • George Constantinides & Michele Davies

Derek Cottier & Laura Tilly • Lilly & Howard Eng

Doug Miller & Ellen Burke • David Reithoffer • Elisa & Jonathan Ross

Michael & Barbara Schwartz • Patricia & Gary Skigen

Charioteers

Gail Arnoff • Edith Hirsch • Ed Rosenberg • Bob Young

For information about becoming an Innkeeper or Charioteer, please contact Carsyn Avegno (Cleveland) at cavegno@apollosfire.org or David Sands (Chicago) at dsands@apollosfire.org.

Did you know that Apollo's Fire has over 21 million views of its aYouTube videos? Check out our YouTuabe channel — apollosfirebaroque

Thank you to our Supporters

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.

Thank you to our donors who gave at levels not listed in this program book. Your contributions enable our success! This list recognizes donations made between September 19, 2024 and September 19, 2025. Every effort has been made to ensure its accuracy. Please email rroberts@ apollosfire.org with any errors or omissions.

APOLLO’S CIRCLE

($100,000 & above)

Anonymous

Cuyahoga Arts and Culture

Janice L. Greene†

HELIOS CIRCLE

($50,000 - $99,999)

Paul M. Angell

Family Foundation

The George Gund Foundation

Ohio Arts Council

Herb & Jody Wainer

CONDUCTOR’S CIRCLE

($25,000 - $49,999)

Anonymous

Jeff & Jamie Barnett

Fred & Mary Behm

The William Bingham Foundation

Chuck & Christy Bittenbender

Cleveland Foundation

Michael Frank & Pat Snyder* (*dec’d)

Kulas Foundation

William Lawlor

John P. Murphy Foundation

National Endowment for the Arts

Marie Rowley

Astri Seidenfeld

Tim & Jennifer Smucker

Robert A. & Judith M. Weiss

MOUNT OLYMPUS CIRCLE

($10,000 – $24,999)

Anonymous

Akron Community Foundation

Bonnie M. Baker

Douglas Bletcher

The Costante-Champi

Family Giving Fund

Joyce Chelberg

Michael & Susan Delahanty

Ann Fairhurst & Mark Cipra

Malcolm & Vivian Henoch

Hyster-Yale Materials

Handling, Inc.

Illinois Arts Council

Martha Holden

Jennings Foundation

Cynthia Knight

Dr. & Mrs. Richard J. Lederman

Gina Leonetti

George I. Litman, M.D.

Daniel McCroskey

In memory of Jane McCroskey

Marilyn & Tom McLaughlin

Ellen & Mike Meehan

Alexander & Jennifer Ogan

Peg’s Foundation

Bruce Raymer

Drs. Jonathan & Elisa Ross

Dr. Michael J. Seider

Dr. & Mrs. James & Rita Sheinin

The Kelvin & Eleanor

Smith Foundation

Sonjia Smith

Karen & Richard Spector

Elizabeth Walder

Ed & Ellen Weber

VERSAILLES CIRCLE

($5,000 – $9,999)

Steve & Judy Bundra

Catharina Caldwell

Amy & Eric Carlson

Homer Chisholm & Gertrude Kalnow Chisholm

Tom & Karen Clark

The Mary S. & David C.

Corbin Foundation

Mrs. Mary & Dr. George L.

Demetros Charitable Trust

Ralph Deskin

Barbara & Denis Feld

The Hankins Foundation

Jane Hubben

Stephen & Maria Lans

Dr. Miloslava Mervart

Northern Trust

Lori & Dan Nelson

John & Linda Olejko

Gertrude F. Orr Trust

Advised Fund of the Akron Community Foundation

Bill & Sandra Powel

Mrs. Alfred M. Rankin†

Noha & Phil Ryder

Kenneth E. Shafer, M.D.

Ryan Siebel

The Sisler McFawn Foundation

Sandra Smith

Dr. Jeanne Sorrell

Michael Taylor

ESTERHAZY CIRCLE

($2,500 – $4,999)

Anonymous

Peter & Jane Anagnostos

Ric & Kate Asbeck

Baker Hostetler

Donna Batson

Karl & Amanda Bekeny

Frances S. Buchholzer

Cerity Partners LLC

Chengelis Scientific Services LLC

Michael & Susan Clark

Bill Conway

Douglas Cooper

Patricia Costante & Stephanie Champi

Frances G. & Lewis Allen Davies

Ralph Deskin

DLR Group

Sarah & Robert Dresing

Diane & Michael Ellis

Feth Family Foundation

Harry K. & Emma R.

Fox Charitable Foundation

Theodore & Teresa Good

Jane Haylor & Mel Berger

In memory of Sheldon & Marilyn MacLeod

Byron G. Hays

Thank you to our Supporters (continued)

Drs. Ka-Pi Hoh & Brian Perry

Erin Horan

Robert† & Donna Jackson

KPMG

The Lehner Family Foundation

Meng “Locky” Liu

Fred & Pearl Livingstone

Annette Lowe & Doug Dolch

Lubrizol

Patti & Hadley

Morgenstern-Clarren

Gary & Shay Olson

Brendan & Elizabeth Patterson

Peggy M. Porter

David Reimer & Raffaele DiLallo

Phil & Noha Ryder

Richard & Deborah Schroeder

Alice S. Sherman

Patricia Skigen

Lucy & Dan Sondles

R. Thomas & Meg Stanton

Sarah N. Steiner

Rebecca K. Storey & Neal Simpson

Synthomer Foundation

Elizabeth & Michael Taipale

Tucker Ellis

Bradley Upham

Libby & Ed Upton

Carol Vandenberg

Gregory Videtic, M.D.

The Welty Family Foundation

David & Judy Young

MEDICI CIRCLE

($1,000 – $2,499)

Anonymous

Michael Angell

Bonnie & Chuck Abbey

Joan Allgood

Dave Mulligan & Kim Arnowitt

Richard & Eleanor Aron

Patricia Ashton

Michael Bakes

Stephen Ban

Peter & Mindy Bartholomae

James H. Bates

Bath Community Fund

Mark & Kathleen Binnig

John & Susan Blackwell

Mitch & Liz Blair

Zeda Blau

Arthur V. N. Brooks†

Stephen & Jeanne Bucchieri

Mr. & Mrs. William D. Buss II

James Calhoun

Claudia Cash

Judy & Bob Ciulla

Herb & Ursula Cohrs

Harry Core

Thomas M. & Janet S. Daniel

The Deveny Family

Henry C. Doll

Dorris Donnelly

John J. Dyer, Jr.

Keith Eggeman

David & Marilyn Elk

Lilly Eng

John & Lee Ann Eyre

Marilynne Felderman

Susan P. Flowers

Casey Forbes & Signe Wrolstad-Forbes

Bonnie Forkosh

William Gaskill & Kathleen Burke

Margerita Gerborg

Barbara Hawley & David Goodman

Andrew Gordon-Seifert

Samuel & Kimberly Hartwell

Sandra V. Hazra, M.D.

Peter & Sunnie Hellman

Paul Herman

Martin & Maria Hoke

Mr. Richard R. Hollington, Jr.

Herbert J. Hoppe, Jr.

Michael & Jane Horvitz

Mrs. M. B. Humphrey*

Melanie Ingalls

Anne Juster

Lori Kalberer

In honor of Clara Rankin

Walter Keith

John & Linda Kelly

Thomas Forrest Kelly, Ph.D.

David & Janet Kinkaid

Ilona Kisis

Rabbi Roger C. Klein & Jacqueline Loewy

Rick & Ellen Knapp

In honor of Ed & Ellen Weber

Raymond & Katharine Kolcaba

Ursula Korneitchouk

Rodger Kowall

Marlene Krause

Manning & John Kundtz

Scott & Betsy Lassar

Joan C. Long

Karl & Anna Losely

Rev. Richard Lutz

Mary Ann Mahoney†

Robert Toma

& Christine Marsick

Kevin Martin

Susan McClary

Douglas Miller & Ellen Burke

Deborah L. Neale

Nordson Corporation Foundation

Edward J. Olszewski

Marilyn Orr

Elizabeth Osborne

Don & Anne Palmer

Tom & Deborah Park

Jim & Kathy Pender

Dale Perram

Melodie Phillips

In honor of Cynthia Knight and Rees Taylor Roberts

James & Leslie Pickard

Katrina Pipasts

Thomas & Kate Pitrone

William Plesec & Susan Stechschulte

Sally & Derek Rance

Fred Rasio

Chuck & Ilana Horowitz Ratner

Frank & Yolita Rausche

The RDM Foundation

Roger & Sally Read

Roger F. Ream, D.D.S.

Dr. Diana C. Reep

Dr. Robert W. Reynolds

Jane N. Richmond

William Watterson & Melissa Richmond

Charles E. & Mabel M. Ritchie Memorial Foundation

Christine & Bill Robertson

Margaret Robinson

Rick & Alita Rogers

Alan Rocke & Cristine Rom

James Rosenthal & Annie Fullard

Kasia G. & Douglas Rothenberg

Nan & Peter Ryerson

Richard & Tamara Rynearson

Anthony Salem

Lynne F. & Ralph Schatz

Frank Shoemaker

Lloyd L. & Louise K.

Smith Foundation

Tom & Judy Spaulding

Drs. Frederick & Elizabeth Specht

Jane Peterson & Phil Star

George Stark

Allyson Stewart

Terry & Jamie Stoller

Jeffrey Strauss

Susan Troia

Anne Unverzagt

John P. & Verna Vanderkooi

Sam Wainer

Anne & Ed Wardwell

Mary Warren

Lucy & Chuck Weller

Robert C. & Emily C. Williams

David & Kathleen Yonto

Richard & Mary Zigmond

BRANDENBURG CIRCLE

($500 – $999)

Anonymous (3)

Susan Armstrong

Cynthia Ball

Bruce Baumberger & Ann Weatherhead

Andrew & Patricia Bazar

Dolores Bielecki & Stephen Lorton

Henry Billingsley & Karen Kidwell

Robin Dunn Blossom

Richard & Mary Bole

Robert & Susan Boltz

Paul Bontrager

Michael Breen

Leslie S. Brown

Michael & Kareen Caputo

Patricia Carlson

Kathleen Cerveny

Jim & Berni Cockey

James Collins & Patricia Brownell

Derek Cottier & Laura Tilly

Susan V. Curtis

William D’Agostino

W. Dean Dabson

Gary Davis & Jane Cooper

Michael & Jan Devereaux

Patricia Dorner

Martha Anne Driscoll

Brian & Carol Duffy

Elinore Evans & John N. Rampe

Betsy Fallon

Linzey Forshey

Debra & Gary Franke

Robert Galivan & Myriam Ribenboim

Daniel & Kathleen Gisser

Peter & Francine Gray

Richard & Ann Gridley

Thomas Hoyt and Katharine

Brooks Jones Family Fund

Kurt Haas & Dierdre Pim

Curt Hancock & Michael Horwath

Jan Harding

Holly J. Harris & James W. Bane

Iris & Tom Harvie

Beth Hauser

Richard & Laurette Hershey

Edith F. Hirsch

Derf Hopsecger

Sabrina Inkley

Joan C. Ishibashi

Gale & Jim Jacobsohn

Sharon Jenkins

Joan Kavanaugh

Jim, Sherry, & Ricky Kitchell

Peggy Koblenzer

David Kotte

Adrian & Margaret Krudy

Ed Larson & Janice Radak

Jody Lefort & Ken Gober

Pam LeRose & Tim Nichols

David & Carolyn Lincoln

Kathryn Machado

Elizabeth K. Mann

Theresa Manzell

Roey & Jeff Margulies

Elizabeth Mease, M.D.

James & Virginia Meil

David Michel

The Laura Runyon Moffit & Lucian Q. Moffitt Foundation

Marjorie Moskovitz

Deb Nash

Ronald Neill

Charlene & Marv Nevans

Carole & Steve Ochs

Patrick & Judith O’Hara

Kim Parry

Mr. Franklyn Perry

Sophia Perry

Barbara Peskin

Roland Philip & Linda Sandhaus

Len & JoAnne Podis

Richard & Joanne Prober

Mark Purdy

Michael & Zoya Reyzis

Michael & Dawn Rickman

Kenneth Robinson

Todd & Diane Rosenberg

Patricia Rubin

Joan Safford

Paula Salerno

Paul Secunde

Rev. Sandra Selby

David Simmons

Michael Star & Debra Golden

Cynthia Struk

Tayba Tahir

Esther R. Talbert

Dave & Reanetta Taylor

United Way of Greater Cleveland

Felix & Inna Vilinsky

John & Jeanette Walton

Michael Warner

Audrey Weaver

Jeffrey Wisnieski

André Witt

Lucas Witters

BUCKINGHAM CIRCLE

($250 – $499)

Anonymous (4)

Atty. LuWayne Annos

Cheryl & Robert Barsan

Charles Behrens

Andrew & Ilze Bekeny

Vicki & Jim Bell

Margie & Jeff Biggar

Dennis & Madeline Block

Terry & Christine Bowman

John & Mary Boyle

Michael & Jacklyn Brennan

Tom & Mary Brooks

Gisela Brodin-Brosnan

Christopher Brown

Nancy E. Brown

John & Mimi Brulia

Bill & Carol Bruml

James & Judy Burghart

Ruth Cantleberry & Bud Stern

Cindy & Tim Carr

Roderick & Catherine Case

Claudia Cash

Michael Coleman

Roger Creps

Cassandra Crowley

Barbara Ann Davis

Patricia Deems

James Denton

Amy & Michael Diamant

William & Suzanne Doggett

Margaret Dorner

Sue Dreitzler

Duesenberg Family

Charitable Fund

Barbara Eaton

Eaton Corporation

The Echle-Walters Family Fund

Brian Edelstein

In honor of Dr. and Mrs.

Edward C. Weber

Robert Fabien

George Faddoul

Robert F. Fay, CPA

Robert & Marcia Fein

Patty Flauto

Dave & Binney Fouts

Richard & Judy Fox

Thank you to our Supporters (continued)

Timothy Fox

David & Claudia Fulton

Alexander & Carol Garklavs

John & Pam Gibbon

Bob & Ann Gillespie

Michelle Graf

Jeffrey L. Green

Charlie Grode and Heidi Lukas

Marcie Groesbeck

Susan & Jeffrey Gumbiner

Louise E. Hamel

Mohamed & Fadia Hamid

John Hancock

Ron & Chris Hawes

Betty Hess

James & Ina Heup

Fred Heupler, M.D.

John Hibshman

Dr. Christine A. Hudak

& Mr. Marc F. Cymes

Hope Hungerford

Sabrina Inkley

Byron H. & Diane F. Jackson

Mark Jones & Linda Johnson

Gail Juanoquez

Jodi Kanter & Steve Szilagyi

Mr. & Mrs. Joseph & Nancy Keithley

Charles Keller

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Geraldine Kiefer

Ryan Kin

Maryanne King

Karen Knobloch

Nancy & Rik Kohn

Larry Korland

Melodee Kornacker

Jim & Rhonda Kroeger

Stacey Lawler

Karen Lefton

Madeline Lepidi-Carino

Alan Lettofsky

Richard Lilley

& Carmen Letelier

Louella Levey

Richard Lynde

Dr. Kandice Marchant

Sheila Markowitz

In memory of Frederic Markowitz

Charles & Susan Marston

Susan McGill

Robert McInnes

Kevin McLaughlin

B. J. Miller & Marty Katz

Timothy & Marjorie Minnis

John & Janet Mitchell

Carole & George Morris

John Mroczka

Hugh Muller & Paul Seeley

Don Nash

David E. & Robin A. Nash

Florence Nelson

David & Sarah Nix

David O’Callaghan

Nicholas & Anne Ogan

Ann Otto

Janice Patterson

Marianne S. Paul

Karen & Dave Paulin

John S. Perko

Elisabeth C. Plax*

Virginia Poirier

Stacy Ratner

Bill & Jan Resseger

Dr. Thomas Riis

John & Jackie Roberts

Rees Taylor Roberts

Donald Rosenberg

Anthony & Denise Ross

Phillip Rowland-Seymour

Michael & Lynn Saddleton

Bryan & Sarah Salisbury

Martin I. Saltzman, M.D.

Dr. Adrian M. Schnall

Richard Shirey

William Silver

Leslie Smith

Christine & Bill Snyder

Mr. & Mrs. William Spatz

Linda Sperry & Linda Chopra

Mickey Stefanik

Eileen & John Stenerson

Larry E. Stewart

Susan Subak

Donald Treap

Karen Trinkle

Pathfinder Wealth Advisors

Cynthia & Harvey Tucker

Richard Uza

Hon. & Mrs. William F. B. Vodrey

Sarah Vradenburg

Leslie & Mark Walker

Jim & Chris Wamsley

Mary Wehrle

Ms. Jacqueline Weiner

Barbara Weiss

Dorothy Whittenberger

Mr. & Mrs. David Wildermuth

Lois S. Wolf

John & Jane Zuzek

†In memoriam

FOUNDATIONS, GOVERNMENT & OTHER ORGANIZATIONS

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

$100,000 & above

$50,000-$99,999

$20,000-$49,999

$10,000-$19,999

Akron Community Foundation

Hyster-Yale Materials Handling, Inc.

Illinois Arts Council

$5,000-$9,999

The Mary S. & David C. Corbin Foundation

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

$2,000-$4,999

BakerHostetler

Bath Community Fund

BNY Mellon Community Impact Program

Feth Family Foundation

Harry K. & Emma R. Fox Charitable Foundation

KPMG International

The Lehner Family Foundation

Media Partners

Ideastream Public Media

Martha Holden Jennings Foundation

Peg's Foundation

The Hankins Foundation The Sisler McFawn Foundation

Lubrizol McMaster-Carr Supply Company

Charles E. & Mabel M. Ritchie Memorial Foundation

Synthomer Foundation

Tucker Ellis

Welty Family Foundation

WFMT Radio Network

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.

Administration

David Walker, Managing Director

Noha Ryder, Director of Strategic Initiatives

David Sands, Senior Advancement Manager, Chicago

Barbara Feld, Director of Development, Summit County

Rees Taylor Roberts, Development Manager

Adina Antonucci, Interim Director of Marketing & Community Engagement

Carsyn Avegno, Community Engagement & Operations Coordinator

Tikal Rivera, Marketing & Community Relations, Chicago

Kelly Cosgrove, Patron Services Manager

Shannon Cooch, Box Office & Hospitality Associate

Edward Vogel, Artistic Administrator

Amy Tarantino-Trafton, Manager of Operations & Grants

Tom Frattare, Production Stage Manager

Erica Brenner, Director of Media Production

Martins Daukss, Stage Manager & Staff Accountant

Melanie Emig, Bookkeeping Associate

Hanna Bingham, Social Media Consultant

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!

For more information, please contact Carsyn Avegno at cavegno@apollosfire.org.

The commission for Eric Gould’s 1791: Requiem for the Ancestors was generously underwritten by SONJIA

SMITH

MOZART'S Requiem A TAPESTRY

Sonya Headlam, soprano | Guadalupe Paz, mezzo-soprano Jacob Perry, tenor | Kevin Deas, bass-baritone with Elora Kares, soprano & Apollo’s Singers

Apollo’s Fire and Artistic Director Jeannette Sorrell premiere a bold new program reflecting the vibrant tapestry of today’s society. In this journey through mourning to hope and joy, Sorrell interweaves the movements of Mozart’s unfinished Requiem with selections from related spiritual works by three living Black composers — Damien Geter, Eric Gould, and Jessie Montgomery — who are important new voices in our cultural landscape. Sorrell leads 70 of the nation’s finest period-instrument specialists and early music singers in these concerts.

Friday, November 7, 7:30pm St. Bernard's Church, AKRON Saturday, November 8, 7:30pm SEVERANCE MUSIC CENTER, CLEVELAND

Passions Life’s

Pauline has always been passionate about educating and giving people the tools needed to succeed. As a professor, analyst, Certified Financial Planner and recent Crain’s Eight Over 80 honoree, she has impacted many and continues to inspire and inform as a volunteer and philanthropist.

Bringing Independent Living to Life.

At Judson, independent living is all about enjoying the comforts of home in a vibrant, maintenance-free retirement community. Residents take advantage of diverse, enriching programs that cultivate new friendships, maintain wellness, fuel creativity and ignite new interests. Seniors define an inspirational way of living with peace of mind that comes with access to staff members 24 hours a day should help be needed. Visit us to see how we bring independent living to life.