Apollo's Fire and Opéra Atelier to Join Musical and Dramatic Forces in Period Performance of Monteverdi's "L'Orfeo" Tuesday, February 15, 8 PM, in Finney Chapel Story by Michael Chipman
			The heat of the underworld will warm the stage of Finney Chapel when Apollo's Fire and Opéra Atelier join forces to perform a fully-staged production of Monteverdi's "L'Orfeo," Tuesday, February 15, at 8:00 p.m. This performance, a unique combination of specialists in the performance of Early Music, is hosted by Oberlin's Artist Recital Series. "'L'Orfeo' was not the first opera, but it is considered by many to be the first great opera," says Jeannette Sorrell ('92), co-founder and music director of Apollo's Fire. "It was written in 1608 during a period of intense musical experimentation in Italy. There were several experimental operas around in those first few years, but Monteverdi reached a much higher level than the others in 'L'Orfeo.' He uses a diverse palette of musical forms, such as madrigals and dances. There is one major, extended aria for Orfeo in Act 3."   Apollo's Fire, Cleveland's Baroque Orchestra Sorrell says she has "been in love with 'L'Orfeo'" for more than ten years. "I first came to know it as a student at Oberlin and I nagged Tom Keeley (then-director of the Historical Performance program) to perform it. He agreed so we produced a student performance. This is the second 'L'Orfeo' by Apollo's Fire" -- we performed it in 1996 -- "but this time we will collaborate with Opéra Atelier, a Toronto-based opera company, co-directed by Marshall Pynkoski and Jeannette Zingg, that specializes in Baroque opera. Opéra Atelier always brings a stunningly beautiful visual element to the production with their period costumes, movement and exquisite lighting," says Sorrell. "It is nice because I can just focus on the music and know the visual element will be great. "Also, the instrumentation in 'L'Orfeo' is extraordinary," continues Sorrell. "It was extraordinary when it was composed and it is extraordinary now, combining an exotic array of cornetti, trumpet, oboe, theorbo, five sackbutts [essentially trombones], string organ and recorders. There is a rich possible color palette throughout the piece." Michael Lynn, associate Conservatory dean, Baroque recorder player, and one of the founding members of Apollo's Fire, agrees that "'L'Orfeo' is a great piece. It's exciting even if you only play some of the time. Recorders are an accent color in the orchestra -- our music is fun - but the cornet and sackbut have the most exciting music. Jean Tubery, who will perform with us on this concert, is, I believe, the world's best cornetto player. He inspired us all when he when he played the Monteverdi Vespers with us recently and I'm sure he will inspire us again. A string group and a continuo group with lutes and harpsichords will accent the orchestral sound." Tickets for the performance may be purchased through Central Ticket Service at (440) 775-8169. About the Artists Apollo's Fire, the Cleveland Baroque Orchestra, has quickly attained recognition across North America since its debut in 1992 under the leadership of Oberlin alumna Jeannette Sorrell (OC '92). The group boasts three critically acclaimed CD recordings, tours throughout the U.S. and Canada, and nationwide broadcasts on NPR and Canada's CBC. Fanfare magazine hailed their recent recording of the Monteverdi Vespers as "a stunning achievement," and the Cleveland Plain Dealer calls Apollo's Fire "a miracle of refinement and character at the service of musical purpose." Jeannette Sorrell, Musical Director Jeannette Sorrell brings to the stage an unusual background as both Early Music performer and orchestral conductor. The winner of two international harpsichord competitions, she studied conducting under Leonard Bernstein and Roger Norrington. She is the winner of the 1994 Erwin Bodky Award, an international award given annually to the outstanding young performer in Early Music. Opera Atelier holds a unique place in the North American theatre community. With an emphasis on historically informed performances, the company has developed a highly diversified repertoire, interpreting opera, ballet, and drama from the 17th and 18th centuries. While Opera Atelier has an interest in 19th and 20th century repertoire, it remains committed to pre-romantic theatre, drawing upon but not slavishly copying the aesthetics and ideals of that era for modern audiences. Opera Atelier productions feature soloists of international acclaim, period ballet, original instruments, elaborate stage decor, exquisite costumes, and an attention to detail that sets Opera Atelier apart. Opera Atelier is not in the business of re-creating. Rather, each production is a new statement and takes its own place in history. Marshall Pynkoski and Jeannette Zingg, co-directors of Opéra Atelier Under the direction of Marshall Pynkoski and Jeanette Zingg, Opera Atelier has received glowing reviews in Toronto, Vancouver, Montreal, New York, Houston (Houston Grand Opera), Stuttgart, Bremen, Citta de Castello, London (BBC Proms), Paris (Royal Opera House, Chateau Versailles) and Tokyo (Bunkamura Hall). They have collaborated with some of early music's most distinguished artists, including Christopher Hogwood and the Academy of Ancient Music; Marc Minkowski and Les Musiciens du Louvre; Trevor Pinnock with the National Arts Centre Orchestra; Andrew Parrott; and Frieder Bernius and Tafelmusik Baroque Orchestra. Mr. Pynkoski and Ms. Zingg continue to explore more avant-garde work with Rhombus Media. In 1992, they staged and choreographed a Rhombus/Thames Television production of Handel arias and dances entitled The Sorceress, featuring Dame Kiri Te Kanawa, Christopher Hogwood with the Academy of Ancient Music, and Amsterdam1s Scapino Ballet, Dutch National Ballet, and Artists of Atelier Ballet. Co-Artistic Directors Marshall Pynkokski and Jeanette Zingg were principal guest instructors at the Centre de Musique Baroque de Versailles from 1993 to 1996, working with Marc Minkowski and Les Musiciens du Louvre. With the assistance of Banque Paribas, Opera Atelier's production of Purcell's Dido and Aeneas was part of the Houston Grand Opera's 1995 season and went on the complete a five-country European tour. In addition to being named recipients of the Toronto Arts Award, Zingg is the recipient of a Chalmers Award which helped facilitate her studies with Sandra Caverly and Wendy Hilton. Mr. Pynkoski received the distinction of Chevalier dans L'Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) from the French Government in September 1996. In December 1997, Opera Atelier became the top recipient of the Lieutenant Governor Award for the Arts.
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