This wonderfully colorful program features the Vail debut of a thrilling young pianist performing Mendelssohn’s youthful and fiery concerto. The “Organ” Symphony is thunderous, unimaginably grand.
NEW YORK PHILHARMONIC
DAVID ROBERTSON, CONDUCTOR
GEORGE LI, PIANO
KENT TRITLE, ORGAN
HANK GUTMAN, SPECIAL GUEST CONDUCTOR
COPLAND: An Outdoor Overture
MENDELSSOHN: Piano Concerto No. 1
SAINT-SAËNS: “Organ” Symphony
TCHAIKOVSKY: POLONAISE, FROM EUGENE ONEGIN
Polonaise from Eugene Onegin Op. 24 (1877-1878)
PETER ILYICH TCHAIKOVSKY (1840-1893)
Eugene Onegin is a well-known example of lyric opera, to which Tchaikovsky added music of a dramatic nature. The story concerns a selfish hero who lives to regret his blasé rejection of a young woman's love and his careless incitement of a fatal duel with his best friend.
COPLAND: AN OUTDOOR OVERTURE
An Outdoor Overture (1938)
AARON COPLAND (1900-1990)
Copland wrote, “An Outdoor Overture owes its existence to the persuasive powers of Alexander Richter, head of the Music Department of the High School of Music and Art in New York City. He had witnessed a performance of my high school opera, The Second Hurricane, and made up his mind that I was the man to write a work for his school orchestra. I liked the idea of the High School of Music and Art — that gifted students could prepare for their careers in the arts at such a school without sacrificing a general education. Richter won me over when he explained that my work would be the opening gun in a campaign the school planned to undertake with the slogan: ‘American Music for American Youth.’ I found this so irresistible that I interrupted my orchestration for Billy the Kid in the fall of 1938 to write the piece. Mr. Richter suggested a single movement optimistic in tone that would appeal to the adolescent youth of this country…. When I played the piano sketch for him, Richter remarked that it seemed to have an open air quality. Together we hit on the title An Outdoor Overture.”
MENDELSSOHN: PIANO CONCERTO NO. 1
Piano Concerto No. 1 in G minor, Op. 25 (1830)
FELIX MENDELSSOHN (1809-1847)
Immediately following his epochal revival performance of Bach’s St. Matthew Passion in Berlin on March 11, 1829, Felix Mendelssohn, age twenty, set out on a grand musical tour of Europe. The first leg of the journey took him to England and Scotland, a junket that inspired the Hebrides Overture and the “Scottish” Symphony. He returned home to Berlin late in the year, refused a professorship at the university there, and in May headed for Weimar (where he visited his old friend Johann Wolfgang von Goethe) and Munich. By the end of the summer the peripatetic bon vivant was again on his way, through Linz and Vienna and Pressburg (where he witnessed the coronation of the King of Hungary), arriving in Venice on October 10th: “Italy at last ... and I am basking in it.” A month later he passed through Florence on his way to Rome, where he met Berlioz, admired the paintings and artworks, and regularly listened to the music at St. Peter’s. From Rome in November, he told Fanny that he was sketching a piano concerto “for Paris,” which he of course was planning to conquer the following year. He stayed in Rome through the following June, working on the Hebrides Overture, the “Italian” and “Scottish” Symphonies and the new piano concerto, and then headed north through Milan, Chamonix and Lucerne, arriving again in Munich by early October. The concert he had planned for soon after his arrival had to be postponed for a week because of that Bavarian ritual, Oktoberfest, but on October 17th he unveiled the G minor Piano Concerto to an enthusiastic audience. With the exception of the Midsummer Night’s Dream Overture, the Concerto may well have been Mendelssohn’s greatest success during his lifetime.
Mendelssohn’s First Concerto is in the traditional three movements — fast–slow–fast — though, unlike the Classical model, these are instructed to be played without pause. (Mendelssohn abhorred applause between movements.) The opening movement (marked “Very fast, with fire”) follows sonata form, though the return of its thematic materials is considerably compressed. The Andante is a deliciously filigreed song-without-words given by the soloist. The finale is a glittering rondo prefaced by a mock-dramatic orchestral strain.
SAINT-SAËNS: "ORGAN" SYMPHONY
Symphony No. 3 in C minor, Op. 78, “Organ” (1886)
CAMILLE SAINT-SAËNS (1835-1921)
The Paris in which Saint-Saëns grew up, studied and lived was enamored of the vacuous stage works of Meyerbeer, Offenbach and a host of lesser lights in which little attention was given to artistic merit, only to convention and entertainment. Berlioz tried to break this stranglehold of mediocrity, and he earned for himself a reputation as an eccentric, albeit a talented one. Saint-Saëns, with his love of Palestrina, Rameau, Beethoven, Liszt and, above all, Mozart, also determined not to be enticed into the Opéra Comique but to follow his calling toward a more noble art. To that end, he helped establish the Société Nationale de Musique in 1871 to perform serious concert works by French composers. The venture was a success, and it did much to give a renewed sense of artistic purpose to the best of the country’s musicians. Saint-Saëns produced a great deal of music to promote the ideals of the Société, including the Symphony No. 3 in C minor, his masterwork in the genre.
Saint-Saëns wrote, “This Symphony is divided into two parts, though it includes practically the traditional four movements. The first, checked in development, serves as an introduction to the Adagio. In the same manner, the scherzo is connected with the finale.” Saint-Saëns clarified the division of the two parts by using the organ only in the second half of each: dark and rich in Part I, noble and uplifting in Part II. The entire work is unified by transformations of the main theme, heard in the strings at the beginning after a brief and mysterious introduction. In his “Organ” Symphony, Saint-Saëns combined the techniques of thematic transformation, elision of movements and richness of orchestration with clarity of thought and grandeur of vision to create one of the masterpieces of French symphonic music.
David Robertson – conductor, artist, thinker, and American musical visionary – occupies some of the most prominent platforms on the international music scene.
Praised by the Washington Post for combining “staggering technical prowess, a sense of command and depth of expression,” pianist George Li possesses brilliant virtuosity and effortless grace far beyond his years.
Kent Tritle is one of America’s leading choral conductors, called “the brightest star in New York's choral music world” by The New York Times.
David Robertson – conductor, artist, thinker, and American musical visionary – occupies some of the most prominent platforms on the international music scene. A highly sought-after podium figure in the worlds of opera, orchestral music, and new music, Robertson is celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator whose passionate advocacy for the art form is widely recognized. A consummate and deeply collaborative musician, Robertson is hailed for his intensely committed music making.
Currently in his valedictory season as Music Director of the St. Louis Symphony Orchestra, and his fifth season as Chief Conductor and Artistic Director of the Sydney Symphony Orchestra, he has served in artistic leadership positions at musical institutions including the Orchestre National de Lyon, and, as a protégé of Pierre Boulez, the Ensemble InterContemporain, which he led on its first North American tour. At the BBC Symphony Orchestra, he served as Principal Guest Conductor.
Robertson has served as a Perspectives Artist at Carnegie Hall, where he has conducted, among others, The Met Orchestra, the Lucerne Festival Orchestra, and the St. Louis Symphony Orchestra. He appears regularly in Europe with the Royal Concertgebouw Orchestra, the Czech Philharmonic, the Bayerische Rundfunk and the Dresden Staatskapelle, and at the Berlin Festival, the Edinburgh Festival, the BBC Proms, and the Musica Viva Festival in Munich.
In March and April 2018, Robertson returns to The Metropolitan Opera to conduct the premiere of Phelim McDermott’s new production of Così fan tutte. Since his Met Opera debut in 1996, with The Makropulos Case, he has conducted a breathtaking range of Met projects, including the Met premiere of John Adams’ The Death of Klinghoffer (2014); the 2016 revival of Janáček’s Jenůfa, then its first Met performances in nearly a decade; the premiere production of Nico Muhly’s Two Boys (2013); and many favorites, from Mozart’s Le Nozze di Figaro to Britten’s Billy Budd. Robertson has frequent projects at the world’s most prestigious opera houses, including La Scala, Théâtre du Châtelet, Bayerische Staatsoper (orchestra), the San Francisco Opera, and the Santa Fe Opera.
During his 13-year tenure with the St. Louis Symphony Orchestra, Robertson has solidified the orchestra’s standing as one of the nation’s most enduring and innovative. His established and fruitful relationships with artists across a wide spectrum is evidenced by the orchestra’s ongoing collaboration with composer John Adams. The 2014 release of City Noir (Nonesuch) – comprising works by Adams performed by the SLSO – won the Grammy Award for Best Orchestral Performance. Robertson is the recipient of numerous musical and artistic awards, and in 2010 was made a Chevalier de l’Ordre des Arts et des Lettres by the Government of France.
Robertson is devoted to supporting young musicians and has worked with students at the festivals of Aspen, Tanglewood, Lucerne, at the Paris Conservatoire, the Juilliard School, Music Academy of the West, and the National Orchestra Institute. In 2014, he led the Coast to Coast tour of Carnegie Hall’s National Youth Orchestra of the USA.
Born in Santa Monica, California, Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. He is married to pianist Orli Shaham.
Photo: Chris Lee
Praised by the Washington Post for combining “staggering technical prowess, a sense of command and depth of expression,” pianist George Li possesses brilliant virtuosity and effortless grace far beyond his years. He captured the Silver Medal at the 2015 International Tchaikovsky Competition and was the recipient of the 2016 Avery Fisher Career Grant.
Recent and upcoming concerto highlights include performances with Gustavo Dudamel and the Los Angeles Philharmonic, Michael Tilson Thomas and the San Francisco Symphony, Hamburg Philharmonic with Manfred Honeck, a tour of Asia with the London Symphony Orchestra and Giandrea Noseda, St. Petersburg Philharmonic with Yuri Temirkanov, Philharmonia Orchestra with Long Yu, Oslo Philharmonic, Orchestre National de Lyon, Rotterdam Philharmonic, Mälmo Symphony, Verbier Festival Orchestra, DSO Berlin, Seattle Symphony, Utah Symphony, Sydney Symphony and Frankfurt Radio Symphony. He frequently appears with Valery Gergiev and the Mariinsky Orchestra, including performances at the Paris Philharmonie, Luxemburg Philharmonie, New York’s Brooklyn Academy of Music, Graffenegg Festival and in various places throughout Russia.
Recital highlights include Carnegie Hall, Davies Hall in San Francisco, the Mariinsky Theatre, Munich’s Gasteig, the Louvre, Seoul Arts Center, Tokyo’s Asahi Hall and Musashino Hall, NCPA Beijing, Ravinia Festival, Lanaudiere Festival, Edinburgh Festival and Montreaux Festival.
An active chamber musician, George has performed chamber music with James Ehnes, Noah Bendix-Balgley, Benjamin Beilman, Kian Soltani, Pablo Ferrandez and Daniel Lozakovich.
George is an exclusive Warner recording artist, with his debut album releasing in October 2017 which was recorded live from the Mariinsky.
George Li gave his first public performance at Boston’s Steinway Hall at the age of ten and in 2011, performed for President Obama at the White House in an evening honoring Chancellor Angela Merkel. Among George’s many prizes, he was the First Prize winner of the 2010 Young Concert Artists International Auditions and a recipient of the 2012 Gilmore Young Artist Award. George is currently in the Harvard University / New England Conservatory joint program, studying with Wha Kyung Byun.
Photo: Simon Fowler
Kent Tritle is one of America’s leading choral conductors. Called “the brightest star in New York's choral music world” by The New York Times, he is Director of Cathedral Music and Organist at the Cathedral of St. John the Divine in New York City; Music Director of Musica Sacra, the longest continuously performing professional chorus in New York; and Music Director of the Oratorio Society of New York, the acclaimed 200-voice volunteer chorus.
In addition, Kent is Director of Choral Activities and Chair of the Organ Department at the Manhattan School of Music and is a member of the graduate faculty of The Juilliard School. Also an acclaimed organ virtuoso, Kent Tritle is the organist of the New York Philharmonic and the American Symphony Orchestra.
Kent’s 2017-18 season is highlighted by the world premieres of two works with the Oratorio Society of New York: Sanctuary Road, an oratorio about the Underground Railroad by Paul Moravec, libretto by Mark Campbell, commissioned by the OSNY, and Behzad Ranjbaran’s We Are One. Concerts with the Cathedral Choir of St. John the Divine include a program celebrating the immigrant history of New York in collaboration with early/world music group Rose of the Compass that includes the world premiere of a commissioned work by Robert Sirota, and a program of Kodály, Stravinsky, and Pärt’s Miserere; he leads programs of repertoire ranging from Gregorian chant to Morton Lauridsen with Musica Sacra, and programs including Carissimi’s Jephte with ensembles and soloists from the Manhattan School of Music. He also guest-conducts Mozart’s Requiem with the Cathedral Choral Society at Washington National Cathedral.
The season’s organ activities include a recital at the Stiftskirche in Kyllburg, Germany, recitals on two of the great organs of New York City – those at the Cathedral of St. John the Divine and the Church of St. Ignatius Loyola – and three performances as soloist in the Saint-Saëns “Organ Symphony” with the New York Philharmonic led by Anthony Pappano.
Among Kent’s recent notable performances: at the Cathedral of St. John the Divine, Verdi’s Requiem, Mahler’s “Symphony of a Thousand,” and Britten’s War Requiem performed by the Oratorio Society of New York and the Symphony and Symphonic Chorus of the Manhattan School of Music, the New York premiere of Einojuhani Rautaavara’s Vigilia that Opera News called “a choral concert for the ages,” and programs of early music with the Cathedral Choir in the Chapel of St. James; with Musica Sacra, world premieres of music by Juraj Filas, Michael Gilbertson, and Robert Paterson and an acclaimed performance of Rachmaninoff’s All-Night Vigil; and with the Oratorio Society of New York, the world premiere of Juraj Filas’s Song of Solomon, and performances of Paul Moravec’s Blizzard Voices and Songs of Love and War, Filas’s Requiem “Oratio Spei,” and Mozart’s arrangement of Handel’s Messiah.
Kent has created high-profile collaborations for his groups with other major players in the New York music scene, directing the Manhattan School of Music Symphonic Chorus for performances of Beethoven’s Symphony No. 9 with the New York Philharmonic led by Alan Gilbert; Musica Sacra for the New York Philharmonic’s presentation of 2001: A Space Odyssey film screening and live score performance, also led by Gilbert; and the Oratorio Society of New York for Beethoven’s Missa Solemnis with the Orchestra of St. Luke’s led by Sir Roger Norrington, and Carnegie Hall’s 125th Anniversary Gala. In 2013, Kent was the chorus director of the Carnegie Hall National High School Choral Festival, preparing three choruses from high schools across the country in Mozart’s Requiem. He also led the “Mass Appeal Mass” of the “Make Music New York” festival for three years, including the 2012 premiere of a work by Philip Glass in Times Square.
As part of his work as Director of Choral Activities at the Manhattan School of Music, Kent Tritle established the school’s first doctoral program in choral conducting. Tritle is also renowned as a master clinician, giving workshops on conducting and repertoire; in 2017 he made his fourth appearance as a featured conductor at Berkshire Choral International, leading Mahler’s “Symphony of a Thousand,” and led his third summer workshop at the Amherst Early Music Festival. Recent years have included workshops at Summer@Eastman and at the Sibelius Academy in Helsinki. A Juilliard School faculty member since 1996, he currently directs a graduate practicum on oratorio in collaboration with the school’s Vocal Arts Department.
In more than 150 concerts presented by the Sacred Music in a Sacred Space series from 1989 to 2011, Kent Tritle conducted the Choir and Orchestra of St. Ignatius Loyola in a broad repertoire of sacred works, from Renaissance masses and oratorio masterworks to premieres by notable living composers, earning praise for building the choir and the concert series into one of the highlights of the New York concert scene. From 1996 to 2004, Tritle was Music Director of the Emmy-nominated Dessoff Choirs. Kent hosted “The Choral Mix with Kent Tritle,” a weekly program devoted to the vibrant world of choral music, on New York’s WQXR from 2010 to 2014.
Kent Tritle has worked with a wealth of young singers over the years, and several with whom he was worked frequently are on the leading edge of the current group of rising stars in opera and concert: sopranos Susanna Phillips, Emalie Savoy, and Jennifer Zetlan; mezzo-soprano Sasha Cooke; and tenor Paul Appleby. Tritle has prepared choruses for conductors Alan Gilbert, Philippe Entremont, Christoph von Dohnányi, Leonard Slatkin, Michael Tilson Thomas, Robert Spano, Gerard Schwarz, Vladimir Spivakov, Nicholas McGegan, Leon Botstein, and Dennis Russell Davies. Among the soloists with whom he has collaborated are singers Renée Fleming, Jessye Norman, Hei-Kyung Hong, Marilyn Horne, Susanne Mentzer, Susan Graham, and Sherrill Milnes; cellist Yo-Yo Ma; and pianist André Previn.
As an organ recitalist, Kent Tritle performs regularly in Europe and across the United States; recital venues have included the Leipzig Gewandhaus, the Zurich Tonhalle, the Church of St. Sulpice in Paris, Dresden’s Hofkirche, King’s College at Cambridge, Westminster Abbey, and St. Vitus Cathedral in Prague. With the Philharmonic he has performed Saint-Saëns’s Organ Symphony conducted by Lorin Maazel and Andrew Davis, and recorded Brahms’s Ein Deutsches Requiem, Britten’s War Requiem and Henze’s Symphony No. 9, all conducted by Kurt Masur, as well as the Grammy-nominated Sweeney Todd conducted by Andrew Litton. He is featured on the DVDs The Organistas and Creating the Stradivarius of Organs. In 2015 he became Chair of the Organ Department of the Manhattan School of Music.
Kent Tritle has made more than a dozen recordings on the Telarc, AMDG, Epiphany, Gothic, VAI and MSR Classics labels. Among his most recent are two with Musica Sacra: Eternal Reflections: Choral Music of Robert Paterson, a 2015 release about which Gramophone magazine said, “As shaped by Music Director Kent Tritle, the myriad hues, lyricism and nobility in Paterson's music emerge in all their splendour. The choristers of Musica Sacra lift their lines from the page, bringing passionate and lucid life to the varied challenges”; and Messages to Myself, an acclaimed recording of five new works (by Daniel Brewbaker, Michael Gilbertson, Zachary Patten, Behzad Ranjbaran, and Christopher Theofanidis). In 2013 he led a recording of Juraj Filas’ Requiem, Oratio Spei, dedicated to the victims of 9/11 with the Prague Symphony Orchestra, vocal soloists Ana María Martínez, Matthew Plenk, and Filip Bandzak, and the Kühn Choir.
Kent Tritle holds graduate and undergraduate degrees from The Juilliard School in organ performance and choral conducting. He has been featured on ABC World News Tonight, National Public Radio, and Minnesota Public Radio, as well as in The New York Times and The Wall Street Journal.
Photo: Jennifer Taylor
Need help planning your visit to the Vail Valley? We've got you covered- from travel recommendations, to lodging and dining options, we want your entire visit to be top notch.LEARN MORE
Where are the orchestra concert performances held?
Bravo! Vail orchestral concerts take place at Gerald R. Ford Amphitheater (GRFA) located at 530 S. Frontage Rd E Vail, CO 81657
What time do performances begin?
Concerts start promptly at 6:00PM (except for the movie screening which starts at 7:30PM). The GRFA lobby opens 90 minutes prior and gates open 60 minutes prior to performances. Give yourself plenty of time to park and get into the venue. Latecomers will be escorted by ushers at an appropriate interval.
Where do I park?
FREE concert parking is available at the Vail Parking Structure (241 South Frontage Road East, Vail) and the Lionshead Parking Structure (395 South Frontage Road West, Vail). A Town of Vail Special Event express bus provides continuous service from both parking structures to the GRFA before and after concerts. Limited $10 parking is available at Ford Park by the Tennis Center (500 South Frontage Rd). Additional $10 parking is available at the Vail Athletic/Soccer Field lot.
WALKING DIRECTIONS FROM THE VAIL VILLAGE PARKING STRUCTURE:
Via Gore Creek Trail: 15-minute scenic walk
1. Exit the parking garage by following the Pedestrian Exit signs towards “Vail Village” / “Golden Peak”
2. Turn left out of the parking garage onto East Meadow Drive and head east
3. At the end of the road turn right on Vail Valley Drive and cross the road
4. Turn left on the walking path before the bridge, following the street signs towards "Ford Park"
5. Continuing east, follow the walking path along Gore Creek until reaching the GRFA
Via Frontage Road: 15-minute walk
1. From the top level of the parking garage, exit onto the South Frontage Road
2. Turn right and follow the sidewalk east along the south side of the frontage road
3. Cross East Meadow Drive and continue east along the sidewalk
4. Turn right after passing The Wren at Vail on the right
5. Continue down the path down to the GRFA
How long do concerts last?
Concerts generally last 2 hours including intermission. Please call the box office 877.812.5700 for exact running times.
How do I buy tickets?
Tickets, passes, and gift certificates may be ordered in the following ways:
1. Online: bravovail.org
2. By phone: 877.812.5700
3. In person: Bravo! Vail 2271 N Frontage Rd W Suite C, Vail, CO 81657
Bravo! Vail accepts American Express, Visa, MasterCard, and Discover credit cards, cash, and checks. There is a $2 fee per ticket. Tickets are delivered by mail or email,or may be picked up at the Box Office.
What are the Box Office hours?
Bravo! Vail Box Office hours are Monday-Friday from 9AM to 4PM. During the Festival, hours include Saturday & Sunday from 10AM to 4PM. The Bravo! Vail Box Office can be reached at 877.812.5700.
The Gerald R. Ford Amphitheater box office is open from 11AM until concert start time (5PM on days with no concerts) during the Festival. Tickets for upcoming performances may be purchased on-site at the GRFA before concerts and during intermission.
Where is the Will Call window?
Will Call tickets may be picked up at the Box Office located to the right of the main GRFA entrance lobby. The Box Office is open 11AM to concert start time during the Festival.
Does Bravo! Vail offer group pricing?
Discounts for groups of 15 or more are available for select concerts. Please call 970.827.4316 for more information.
What if I buy tickets and cannot attend?
Tickets are non-refundable. You may exchange your tickets ($7 fee per ticket) by calling the Box Office at 877.812.5700 up to 2 days before the concert. You may release your tickets or leave them for a friend at Will Call by calling the Box Office.
What if I misplace or forget to bring my tickets?
There is no charge to reprint tickets. Please call 877.812.5700 before 3PM on the day of the performance or allow extra time to request new tickets at the Will Call window.
Where are seating options for people with disabilities?
Per the American Disability Act (ADA), the Gerald R. Ford Amphitheater is accessible to individuals with disabilities. ADA seating is available in Section 1 Row L and Section 4 Row O in all reserved seating zones and prices (Premium Aisle, Premium, Reserved, and Saver). A limited number of ADA General Admission Lawn seats are available for sale behind Section 2. You must have a designated ADA lawn seat ticket to sit in this area. By purchasing an ADA seat, you are stating that you require an ADA seat. If purchased fraudulently, you may be subject to relocation. If you need assistance purchasing ADA seating, please call the Box Office at 877.812.5700.
What if it rains?
Concerts take place rain or shine. The GRFA is an open-air venue. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled.
What should I wear?
There is no dress code for concerts. Please be prepared for rain and cooler temperatures.
What should I bring to the concert?
If you will be on the lawn, a blanket, sunglasses, and a hat are recommended. If rain is predicted, please bring appropriate rain gear. Food, commercially sealed non-alcoholic beverages, low-profile lawn chairs, and umbrellas are permitted at concerts. All backpacks, bags, purses, picnic baskets, and coolers will be checked upon entry.
The following articles are not allowed at the venue: cameras, audio/video recording devices, standard-height lawn chairs, baby strollers, alcoholic beverages, firearms, pets, smoking, skateboards, bicycles, scooters, and skates.
What food and beverages are available for purchase at the GRFA?
Concessions are offered for purchase inside the venue. Menu items include snacks, burgers, sandwiches, and salads. A full bar is also available. All major credit cards and cash are accepted for payment. If you have a pavilion seat, please eat prior to the concert or at intermission.
Are lawn chairs available to rent?
Low-profile lawn chairs are available at the GRFA to rent for $10. You may also rent a lawn chair with your lawn ticket purchase online or by calling the Bravo! Vail Box Office at 877.812.5700. To reserve a lawn chair in advance, please email email@example.com
What are some general rules of concert etiquette?
Please allow time for parking and seating. Concert attendees must silence all mobile devices prior to performances to not disrupt musicians and other patrons. Please limit conversations and other noisy activities during the performance. In the pavilion seating, we recommend eating prior to the concert or at intermission. Parental supervision is required for all children attending Bravo! Vail concerts.
What else should I know?
Vail’s high elevation requires adequate hydration and sun protection. Visitors from lower elevations may experience altitude sickness.
What if I lose something at the concert?
Check with the GRFA box office for lost items at intermission or call 970.748.8497.
What if I still have questions?
Please contact the Box Office at 877.812.5700 Mon–Fri 9AM–4PM (and Sat–Sun 10AM-4PM during the Festival).