Jeannette Sorrell, enthusiastic about musicians from the Mining Symphony Orchestra

Jeannette Sorrell, the Grammy-winning conductor and founder of Apollo’s Fire Baroque Orchestra, expressed enthusiasm during her appearance with the Orquesta Sinfónica de Minería. On August 8 and 9, the orchestra presented its sixth program of the Summer Season 2026 at the Sala Silvestre Revueltas venue within the Centro Cultural Ollin Yoliztli. As a guest director, Sorrell joined forces with violinist Shari Mason, marking a special collaboration. The concert featured three classical works, Schubert’s Unfinished Symphony, Mozart’s Violin Concerto No. 4, and Haydn’s Symphony No. 103 (Drumroll), each chosen for their historical and musical connections. In a detailed reflection, Sorrell highlighted how these composers lived in Vienna for much of their lives and were familiar with each other’s music. She noted that Mozart studied under Haydn, who in turn learned from Mozart, creating a cyclical influence. For instance, she observed similarities between the concluding themes of Haydn’s symphony and Mozart’s Jupiter Symphony, noting that Mozart composed his work four years earlier. Additionally, she speculated that Schubert might have drawn inspiration from Haydn’s style in the opening of his Unfinished Symphony. Sorrell emphasized how both Haydn and Schubert used cellos and double basses to mimic dramatic recitations, giving the music a narrative quality akin to ancient Greek and Roman rhetoric. Sorrell described her experience working with the Orquesta Sinfónica de Minería as a challenge and an opportunity. She mentioned that during their first rehearsal, the musicians impressed her with their artistic depth. Known for her dedication to early music and the revival of dramatic expression, Sorrell explained that this approach reflects how composers of the past envisioned music, as a medium for emotional resonance and intellectual engagement. This perspective aligns with her broader mission to bring back lost elements of musical interpretation that were largely forgotten in the 20th century. Her interest in blending traditional European repertoire with diverse cultural influences was evident in her mention of a recent performance of the Xacara dance, a 17th-century Mexican folk piece. Sorrell had arranged it specifically for Apollo’s Fire, describing it as a lively and joyful rhythm. She shared that the piece has become a popular encore in their performances, showcasing her commitment to cross-cultural musical exploration. Following the event, Sorrell plans to embark on a European tour with a carefully curated program. The lineup explores links between 18th-century European music and its counterparts in the Caribbean, prompting reflections on the transatlantic slave trade and its lasting effects on both continents. She will be accompanied by soprano Jeanine De Bique, adding a vocal dimension to the thematic depth of the program. In addition, Sorrell is currently working on a project that tells the story of her father, a Holocaust survivor and refugee. Through music, she aims to raise awareness about the dignity and rights of refugees. She recalled that her father’s arrival in the United States in 1957 allowed him to rebuild his life, ultimately leading to her existence. “It is essential,” she said, “for artists to share messages of truth and love.” Sorrell is also set to return to the helm of the New York Philharmonic, joining them for a fourth time, an honor she described as both meaningful and rewarding. Her ongoing efforts reflect a deep commitment to using music as a tool for understanding history, fostering empathy, and bridging cultural divides.