Behind the Scenes with Bravo! Vail’s technical director Jake Cacciatore
Each summer, Bravo! Vail audiences witness magic being made on stage, but they rarely see the behind-the-scenes efforts that make it all possible. Jake Cacciatore, Bravo! Vail’s technical director since 2022, is one of the key figures orchestrating this magic.
Bravo! Vail sat down with Cacciatore to discuss his journey, the nuances of technical directing, and the unique sound qualities that make listening to classical music so special.
BV: What does a technical director do?
JT: A technical director oversees the rental and use of all the audiovisual equipment that is used in the festival’s production. This includes the PA system, audio mixers, orchestra microphones, cameras and LED/Projection screens, electronic instruments and amplifiers, and lighting. It takes all these different elements to create the best concert experience possible. Technical directors also help with budgeting, technical staffing, and interfacing with artists, venue staff and orchestra staff to make sure everything behind the scenes comes together.
In the case of Bravo! Vail, the Artistic team conceptualizes programming and decides what kind of musical experience they want our audience to have, and my job is to work closely with the rest of our senior team to help realize that vision by making sure all the technical and logistical pieces fall into place.
BV: How do you draw on your past experiences to help you in your current role as technical director?
JT: Three different career experiences have prepared me for my role at Bravo! Vail. After earning a degree in music and sound recording technology from the University of Massachusetts-Lowell, I worked for a regional live sound company, working local shows, big pop/rock festivals and touring with bands. Moving to Colorado, I joined the tech crew at Naropa University in Boulder, where I stage managed music and dance concerts as well as student-directed theater productions in a black box/DIY performance space, using limited resources to create unique performances. Later, I was invited to teach recording studio classes at the university, developing my own curriculum and mentoring students.
I think these experiences have made me an effective technical director for Bravo! Vail. My fast-paced rock-n-roll background helps me troubleshoot quickly and handle high-pressure productions with lots of infrastructure. Theater experience enables me to run a tightly choreographed show, and teaching has honed my communication and management skills, which are essential for working with interns and leading a crew.
BV: How do you approach sound and technical production differently for Bravo! Vail based on the venue?
JT: Our goal is to present musicians doing what they do best, with little to no processing or amplification. Orchestral music is traditionally performed in a concert hall, but as you know if you have been to a Bravo orchestra concert, all our orchestral works are performed outside! This brings a few challenges. The Gerald R. Ford Amphitheater is a fantastic venue, but it requires a bit more technical work for classical music. Due to the low ceilings, wide seating area, and open space behind the stage, what you hear coming off the stage is quite different than an indoor concert hall that was designed for acoustic music. We also have to consider the folks up on the lawn and ensure that they can hear the performance in as much detail as those down in the middle of the pavilion. The recently upgraded L’acoustics sound system at the amphitheater has plenty of power, but classical music has an ethos of less is more, so we are using that technology very differently than the other shows at the venue. Our goal is to provide a sense of intimacy, sonic transparency, and the ability to hear every subtle musical articulation throughout the entire venue, no matter where you sit, without really noticing the amplification.
BV: Do you have a favorite musical moment since working at Bravo! Vail?
JT: The incredible solo performance by guitarist Pablo Sáinz-Villegas, who appeared with Sinfónica de Minería in June, is one of the most inspiring in recent memory. Sáinz-Villegas’ encore was incredible too— before he performed the last piece, he asked the audience not to applaud but instead sit in silence and let the final notes of the piece resonate. It felt like the entire audience shared a moment of deep connection, all of us elated and buzzing from what we had just heard, for probably a full minute without anyone making a sound! It was pure magic.
Read the full article at VailDaily.com