Jeannette Sorrell - Reviews

"In the two-verse chorale early on Ms. Sorrell silenced the orchestra for the second verse, letting the magnificent chorus sing a cappella to breathtaking effect ... this was a lovely, thoughtful touch." - 'St. John Passion' with Apollo's fire at St. Paul's Chapel, THE NEW YORK TIMES, March 14, 2016

“Sorrell, who is the founding artistic director of Cleveland‘s baroque orchestra Apollo‘s Fire, elicited playing that was stylish far beyond minimal use of vibrato.“   - Bach‘s Coffee House concert w/ Pittsburgh Symphony, PITTSBURGH TRIBUNE-REVIEW, March 20, 2015

“Sorrell is an assertive interpreter, coaxing out melodies here and there, drawing out crescendos and climaxes and imposing an overall shape to each movement.“   - Bach, Vivaldi and Handel w/ New World Symphony, SOUTH FL CLASSICAL REVIEW, March 8, 2015

“The two-hour “Viva Vivaldi!” program enthralled the Holland Performing Arts Center audience from start to finish.... Sorrell, who conducted the ensemble throughout while supplying “continuo” accompaniment on the harpsichord, showed why she‘s one of today‘s most engaging and skilled ambassadors of Baroque music. A return visit — perhaps with her leading and playing Bach‘s Brandenburg Concertos, which she has recorded to acclaim — would be most welcome.“   - "Viva Vivaldi!" w/ Omaha Symphony, OMAHA WORLD-HERALD, April 13, 2014

“Sorrell instilled an air of intrigue in the underlying rhythmic drive of the opening movement, then shaped the Andante like a brisk, sunny walk in the country.“   - Haydn & Mozart w/ the Alabama Symphony, The Birmingham News, November 24, 2013

“The debut of Jeannette Sorrell with the Pittsburgh Symphony Orchestra was an especially joyous occasion on Friday night. The American conductor and harpsichordist brought an exciting combination of individuality with decisive yet graceful style to Johann Sebastian Bach‘s Six Brandenburg Concertos...This is a concert not to be missed.“   - Debut with Pittsburgh Symphony, Tribune Review, April 6, 2013

"As led from the harpsichord by music director Jeannette Sorrell, the artistry was alive and warm, with every instrumental voice emerging in clear context...The musicians instilled each piece with telling and often surprising nuances."   - Brandenburg/Telemann concertos concert review, Apollo‘s Fire, THE CLEVELAND PLAIN DEALER, April 27, 2012

"Music director Jeannette Sorrell and superb colleagues have created a lithe "Magic Flute" of captivating and touching vibrancy."   - "The Magic Flute" review, Apollo‘s Fire, THE CLEVELAND PLAIN DEALER, March 23, 2012

"These musicians rejuvenated the baroque for us with the spirit of jazz, and the joy of playing together... Jeannette Sorrell conducted from the harpsichord with great precision, sensitivity and femininity.”   - Apollo’s Fire tour with Philippe Jaroussky, El País, November 14, 2011

"Easily one of the most enjoyable concerts of the season.... Part of the evening’s success also flowed from the sense of artistic collaboration, as Apollo’s Fire here was far more than a backup band. The group without Jaroussky played two Vivaldi concertos on the first half and later pulled out Sorrell’s arrangement of Vivaldi’s "La Follia’’ trio sonata, uncorking it like a Baroque party piece, dashed off from memory. These excellent young musicians take a highly gestural approach to phrasing and bring across their music with an exuberant physicality, like wind through a forest.”   - Apollo's Fire tour with Philippe Jaroussky, The Boston Globe, November 8, 2011

"Apollo's Fire's flair for drama was perhaps best displayed in a grand rumpus performance of Sorrell's arrangement of La Follia, from a Vivaldi triosonata. This party piece, played from memory, featured many steep and rapid changes in tone, texture and rhythmic character…one of the most interesting and rewarding recitals of the season.”   - Apollo's Fire tour with Philippe Jaroussky, The Toronto Globe and Mail, November 2, 2011

"Sorrell, serving both as conductor and harpsichordist, reduces "Messiah" to its ample essence by treating the score as a series of stark contrasts. Nothing is taken for granted in terms of phrasing, gradation or tempo. The flexibility and suavity of the ensemble's expert period-instrument players allow details to emerge that put Handel's creation in fresh perspective.”   - Handel's "Messiah", The Cleveland Plain Dealer, December 17, 2010

"Under the inspired direction of Jeannette Sorrell, Apollo's Fire has become one of the pre-eminent period-instrument ensembles, causing one to hear familiar baroque material anew - as in the arrangement here of 'Summer' from 'The Four Season' for solo harpsichord with string ensemble."   - CD Review, Apollo‘s Fire: Vivaldi & Friends, THE INDEPENDENT (London), November 19, 2010

"There were moments Saturday when Sorrell and her musicians seemed almost to disappear into the music, leaving Monteverdi to console, stir and elevate… The beauty and majesty that lie on every page of the score were treated with utmost care, detail and space.”   - Monteverdi's "Vespers of 1610", The Cleveland Plain Dealer, October 17, 2010

“Conductor Jeannette Sorrell presents an elegantly proportioned ‘Symphony No 40‘, with an attractively immediate woodwind sound; the French-influenced ‘Chaconne‘ from Idomeneo is vividly characterised.“   - CD Review, Apollo‘s Fire: Mozart Symphony No. 4/Ballet Music from Idomeneo, THE INDEPENDENT, September 26, 2010