Meet the Artist: Artistic Director Jeannette Sorrell

Few artists bring the past to life with the vivid and emotion precision of Artistic Director Jeannette Sorrell. In her hands, Praetorius Christmas Vespers becomes more than a concert—it becomes a window into a 17th-century cathedral, where chant, brass, and the bright clarity of children’s voices mingle in a luminous tapestry. Sorrell is known for her signature blend of scholarship, artistic vision, and human connection, and approaches this work with a deep sense of purpose, inviting listeners into a world of wonder, reflection, and shared joy.

What inspired you to bring Praetorius Christmas Vespers to life, and what do you hope modern audiences experience through it? 

I discovered Praetorius’ music 20 years ago, and I immediately wanted to bring it to the public because this music speaks to people from all walks of life. It has a wonderful range of emotions—beginning with haunting Gregorian chant, sung as a procession by the choir, and ending in an explosion of joy. And it leads us through some moments of angst and despair along the way. It is also multigenerational, involving children’s voices in collaboration with professional musicians. 

This program transports audiences to a 17th-century German cathedral. How do you approach creating such a vivid, immersive atmosphere?  

I’ve tried to evoke the sense of an ancient cathedral through some chorus processions—music happening in the aisles and in balconies, etc. And sometimes brass players pop up in unexpected corners of the space. It’s different at each venue.

What do you find most meaningful about Praetorius’ music, particularly in the context of Christmas?  

It’s rare in classical music for kids and adult professionals to work together. But thanks to Martin Luther, early German church music was intentionally designed to feature a combination of children’s voices and professional musicians. Luther wanted it that way. In our troubled world today, I think it’s inspiring to hear and see the young singers who are so focused, disciplined, and happy!

Apollo’s Fire is known for performing on period instruments. How does that choice influence the sound and emotional tone of the concert?  

Period instruments teach us how the music was meant to sound. They naturally produce more lilt and dance-like qualities. And they naturally bring a soulful quality to the music. Modern instruments strive to be consistently beautiful all the time. But in Baroque times, a musician’s first priority was to move the emotional moods of the listeners.

Praetorius Christmas Vespers has a sense of both pageantry and intimacy. How do you balance spectacle with heartfelt storytelling?  

I compiled this “Vespers” service from several different pieces by Praetorius. So as I chose the pieces, I was very much trying to create an overall emotional arc—with some moments of searching and doubt, such as Ach, mein Herre, the stunning but heart-wrenching trio for three sopranos. That leads to a very intense Gregorian chant by those same three sopranos—a confession of faith. And then the instruments come in, very gently at first, and then gradually take us in a spin—ending in a joyous romp. But the finale of the program is spectacular pageantry—a supernova, with brass and singers and kids out in the aisles and surrounding the audience. It feels like the whole village has crowded into the cathedral in this celebration of humanity.

Through Sorrell’s artistic direction, Praetorius Christmas Vespers becomes a reminder of music’s ability to unite generations, illuminate shared stories, and kindle joy in uncertain times. Her work honors the spirit of Praetorius while guiding audiences toward moments of connection throughout the program’s emotional journey. It is a celebration of community, both past and present, brought to life with authenticity and heart.