Hearing the joyful "Triple" Concerto in the hands of three great collaborators, paired with the captivating Seventh Symphony, caps a truly unforgettable celebration of the greatest composer of all time.
$44 - $114
$5 - $29
Gerald R. Ford Amphitheater
Saturday
06:00 PM
DALLAS SYMPHONY ORCHESTRA
DONALD RUNNICLES, CONDUCTOR
JAMES EHNES, VIOLIN
KNUT WEBER, CELLO (UPDATED ARTIST)
ANNE-MARIE McDERMOTT, PIANO
BEETHOVEN: Leonore Overture No. 3
BEETHOVEN: Concerto for Violin, Cello, Piano, and Orchestra
BEETHOVEN: Symphony No. 7
Pre-Concert Talk presented by Wall Street Insurance in partnership with Cincinnati Insurance held one hour prior to concert.
BEETHOVEN: Leonore Overture No. 3
BEETHOVEN: Concerto for Violin, Cello, Piano, and Orchestra
BEETHOVEN: Symphony No. 7
BEETHOVEN: Leonore Overture No. 3
Leonore Overture No. 3, Op. 72b (1806)
LUDWIG VAN BEETHOVEN (1770-1827)
The Leonore Overture No. 3 distills the opera’s essential dramatic progression into purely musical terms: the triumph of good over evil, the movement from darkness to light, from subjugation to freedom. The Overture begins with a broad, slow introduction, by turns lugubrious and threatening, during which the clarinets and bassoons intone the opening phrases of the aria Florestan sings in his dungeon prison. In a faster tempo, the violins present the arch-shaped main theme; the lyrical strain is introduced by flute and violins. The development is filled with sudden dynamic changes and expressive harmonic excursions that mirror the struggles of the play. Then, in an unforgettable coup de théâtre, a distant trumpet call signals deliverance for Florestan and his faithful Leonore. The recapitulation of the themes glows in triumph before a jubilant coda brings this superb work to a stirring close.
BEETHOVEN: Concerto for Violin, Cello, Piano, and Orchestra
Concerto for Violin, Cello, Piano and Orchestra in C major, Op. 56, “Triple Concerto” (1803-1804)
LUDWIG VAN BEETHOVEN (1770-1827)
“Everyone likes flattery; and when you come to Royalty you should lay it on with a trowel,” counseled the 19th-century British statesman Benjamin Disraeli. He would have gotten no argument from Beethoven. When Rudolph, Archduke of Austria and titled scion of the Habsburg line, turned up among Beethoven’s Viennese pupils, the young composer realized he had tapped into the highest echelon of European society. Beethoven gave instruction in both piano and composition to Rudolph, who had a genuine if limited talent for music. Concerning flattery, the most important manner in which 19th-century composers could praise royalty was by dedicating a composition to a noble personage. Beethoven wrote the Triple Concerto for Rudolph, who eventually became Archbishop Cardinal of Austria and remained a life-long friend and patron of the composer, and dedicated to him such important works as the Fourth and Fifth Piano Concertos, “Lebewohl” and “Hammerklavier” Sonatas, Op. 96 Violin Sonata, “Archduke” Trio, Missa Solemnis and Grosse Fuge.
The “Triple” Concerto’s first movement is a modified sonata design with a lengthy exposition and recapitulation necessitated by the many thematic repetitions needed to give equal prominence to the three soloists. After a hushed and halting opening in the strings, the full orchestra takes up the main thematic material of the movement. The soloists enter, led, as usual throughout this Concerto, by the cello with the main theme. The second theme begins, again in the cello, with a snappy broken chord. Much of the remainder of the movement is given over to repetitions and figurations rather than to true motivic development. A sudden quickening of the tempo charges the concluding measures of the movement with flashing energy. The second movement is a peaceful song for the solo strings with elaborate embroidery for the piano. The finale is a strutting Rondo alla Polacca in the style of the Polish polonaise.
BEETHOVEN: Symphony No. 7
Symphony No. 7 in A major, Op. 92 (1811-1812)
LUDWIG VAN BEETHOVEN (1770-1827)
The Seventh Symphony is a magnificent creation in which Beethoven displayed several technical innovations that were to have a profound influence on the music of the 19th century: he expanded the scope of symphonic structure through the use of more distant tonal areas; he brought an unprecedented richness and range to the orchestral palette; and he gave a new awareness of rhythm as the vitalizing force in music. It is particularly the last of these characteristics that most immediately affects the listener, and to which commentators have consistently turned to explain the vibrant power of the work. Perhaps the most famous such observation about the Seventh Symphony is that of Richard Wagner, who called the work “the apotheosis of the Dance in its highest aspect ... the loftiest deed of bodily motion incorporated in an ideal world of tone.” “Beethoven,” John N. Burk explained, “seems to have built up this impression by willfully driving a single rhythmic figure through each movement, until the music attains (particularly in the body of the first movement and in the finale) a swift propulsion, an effect of cumulative growth which is akin to extraordinary size.”
The slow introduction, almost a movement in itself, employs two themes: the first, majestic and unadorned, is passed down through the winds; the second is a graceful melody for oboe. The transition to the main part of the movement is accomplished by the superbly controlled reiteration of a single pitch. This device both connects the introduction with the exposition and also establishes the dactylic rhythm that dominates the movement. The Allegretto is a series of variations on the heartbeat rhythm of its opening measures. In spirit, however, it is more closely allied to the austere chaconne of the Baroque era than to the light, figural variations of Classicism. The third movement, a study in contrasts of sonority and dynamics, is built on the formal model of the scherzo, but expanded to include a repetition of the horn-dominated Trio (Scherzo – Trio – Scherzo – Trio – Scherzo). In the sonata-form finale, Beethoven not only produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but did it in such a manner as to exceed the climaxes of the earlier movements and make it the goal toward which they had all been aimed.
Conductor Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival (Jackson, Wyoming), as well as the Principal Guest Conductor of the Atlanta Symphony Orchestra.
James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favorite guest of many of the world’s most respected conductors
Knut Weber is a member of the 12 Cellists of the Berlin Philharmonic and also appears regularly as a soloist and in various chamber ensembles in Europe, Asia, North and South America.
Pianist and Bravo! Vail Artistic Director Anne-Marie McDermott is a consummate artist who balances a versatile career as a soloist and collaborator. She performs over 100 concerts a year in a combination of solo recitals, concerti, and chamber music.
Conductor Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival (Jackson, Wyoming), as well as the Principal Guest Conductor of the Atlanta Symphony Orchestra. He was recently named Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as its Chief Conductor from 2009-2016. Maestro Runnicles enjoys close and enduring relationships with several of the most significant opera companies and orchestras, and is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire which are core to his musical identity.
As General Music Director of Deutsche Oper since 2009, Mr. Runnicles has primary responsibility for the musical forces of this historic company which produces each season an average of twenty-five productions and more than two hundred performances. In the 2017-18 season, Maestro Runnicles is leading the complete “Ring” cycle at the San Francisco Opera, and returns to the Metropolitan Opera to conduct Hansel and Gretel. He guest conducts the Philadelphia Orchestra, Dallas Symphony, National Symphony Orchestra, and the Toronto Symphony. In Europe and elsewhere, he returns to the Tonhalle-Orchester Zürich, Staatskapelle Dresden, BBC Scottish Symphony, and Sydney Symphony. Opera productions include the world premiere of Aribert Reimann’s L’Invisible and a new production of Die Fledermaus with the Deutsche Oper Berlin.
Born and raised in Edinburgh, Mr. Runnicles literally returned home to take up post as Chief Conductor of the BBC Scottish Symphony Orchestra in September 2009. His final season as Chief Conductor culminated in a triumphant closing concert of the 2016 Edinburgh International Festival season with Schoenberg’s Gurrelieder. Through its BBC Radio 3 broadcasts, commercially released recordings on the Hyperion label, and acclaimed concerts at home and on tour at the BBC Proms and throughout the UK, the BBC SSO/Runnicles has become one of the best known and most successful orchestra/conductor partnerships in the United Kingdom.
His Atlanta Symphony association began with a 1999 guest engagement and quickly matured into an abiding musical relationship of ever-increasing depth and accomplishment. The ASO named him Principal Guest Conductor in 2001 at the same time as the appointment of current ASO Music Director Robert Spano. Together, they have shaped an era for the ASO defined by a rare symbiotic partnership and musical growth that the ASO has not seen since the time of Robert Shaw. He spends three weeks each season in Atlanta, and after over a dozen years of making music together, has explored all corners of symphonic and choral repertory.
Mr. Runnicles has been Music Director since 2005 of the Grand Teton Music Festival, which draws its musicians from many of North America’s top orchestras to the natural beauty of the Grand Tetons in Jackson Hole, Wyoming. He leads four of the festival’s seven orchestra weeks, and directs and participates as pianist in the many chamber concerts, recitals and other activities the festival offers to its local public and visitors who flock to Jackson and nearby Yellowstone Park in the summer.
Beyond his annual commitments, Mr. Runnicles is active in symphonic repertoire and guest conducts some of the world’s finest symphony orchestras. Though fully engaged with four titled positions, he finds time to maintain regular guest relationships with the Berlin Philharmonic, London Symphony Orchestra, and the Philadelphia Orchestra, with whom he took on their 40th anniversary tour to China in June 2013.
For seventeen seasons Mr. Runnicles was Music Director of the San Francisco Opera (1992-2008). During his tenure, he led more than sixty productions including the world premieres of John Adams’s Dr. Atomic and Conrad Sousa’s Les Liaisons dangereuses, as well as the U.S. premieres of Olivier Messiaen’s Saint François d’Assise and Aribert Reimann’s Lear. At the close of his tenure, he was awarded the San Francisco Opera Medal, the company’s highest honor, previously given to luminaries such as Leontyne Price, Marilyn Horne, Plácido Domingo and Sir Charles Mackerras. Prior to the 2017-18 season, Mr. Runnicles had returned to the SFO in June 2015 to lead a new production of Berlioz’s Les Troyens.
Photo: Simon Pauly
James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest of many of the world’s most respected conductors including Ashkenazy, Alsop, Sir Andrew Davis, Denève, Elder, Ivan Fischer, Gardner, Paavo Järvi, Mena, Noseda, Robertson and Runnicles. Ehnes’s long list of orchestras includes, amongst others, the Boston, Chicago, London, NHK and Vienna Symphony Orchestras, the Los Angeles, New York, Munich and Czech Philharmonic Orchestras, and the Cleveland, Philadelphia, Philharmonia and DSO Berlin orchestras.
Recent and future orchestral highlights include the MET Orchestra at Carnegie Hall with Noseda, Gewandhausorchester Leipzig with Shelley, Orchestre National de France with Gardner, San Francisco Symphony with Janowski, Frankfurt Radio Symphony with Orozco-Estrada, Hong Kong Philharmonic with van Zweden and Gothenburg Symphony with Nagano, as well as his debut with the London Philharmonic Orchestra at the Lincoln Center in spring 2019 and a residency with the Minnesota Orchestra throughout 2017/18. In 2017, Ehnes premiered the Aaron-Jay Kernis Violin Concerto with the Toronto, Seattle and Dallas Symphony Orchestras, and gave further performances of the piece with the Deutsches Symphonie-Orchester and Melbourne Symphony Orchestra. Ehnes was awarded the 2017 Royal Philharmonic Society Award in the Instrumentalist category.
Alongside his concerto work, James Ehnes maintains a busy recital schedule. He performs regularly at the Wigmore Hall, Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, Chaise-Dieu, the White Nights Festival in St Petersburg, Verbier Festival, Festival de Pâques in Aix, and in 2009 he made a sensational debut at the Salzburg Festival performing the Paganini Caprices. In 2016, Ehnes undertook a cross-Canada recital tour, performing in each of the country’s provinces and territories, to celebrate his 40th birthday.
As a chamber musician, he has collaborated with leading artists such as Andsnes, Capucon, Lortie, Lugansky, Yo-Yo Ma, Tamestit, Vogler and Yuja Wang. In 2010, he formally established the Ehnes Quartet, with whom he has performed in Europe at venues including the Wigmore Hall, Auditorium du Louvre in Paris and Théâtre du Jeu de Paume in Aix, amongst others. Ehnes is the Artistic Director of the Seattle Chamber Music Society.
Ehnes has an extensive discography and has won many awards for his recordings including a Gramophone Award for his live recording of the Elgar Concerto with Sir Andrew Davis and the Philharmonia Orchestra. His recording of the Korngold, Barber and Walton violin concertos won a Grammy Award for ‘Best Instrumental Soloist Performance’ and a JUNO award for ‘Best Classical Album of the Year’. His recording of the Paganini Caprices earned him universal praise, with Diapason writing of the disc, “Ehnes confirms the predictions of Erick Friedman, eminent student of Heifetz: ‘there is only one like him born every hundred years’.” Ehnes’s recent recording of the Bartók Concerti was nominated for a Gramophone Award in the Concerto category. Recent releases include sonatas by Beethoven, Debussy, Elgar and Respighi, and concertos by Britten, Shostakovich, Prokofiev and Walton, as well as the Beethoven Violin Concerto with the Royal Liverpool Philharmonic Orchestra and Andrew Manze, which was released in October 2017 (Onyx Classics).
Ehnes began violin studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral debut with Orchestre Symphonique de Montréal aged 13 and graduated from The Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada.
James Ehnes plays the “Marsick” Stradivarius of 1715.
Photo: Benjamin Ealovega
A friend of his older sister played the cello. Knut Weber, then exactly five years old, was especially taken with the low strings and knew at once: "That’s my instrument!" He’d already been searching for a suitable one and, in any event, wanted to learn an instrument where you didn’t have to stand while playing. The cello seemed absolutely ideal. He received his first musical training from the Slovenian cellist Milos Mlejnik. Later he studied in Cologne with the Alban Berg Quartet and Claus Kanngiesser as well as with Wolfgang Boettcher in Berlin, where in 2002 he passed his concert exam with distinction. Further significant encouragement came from Heinrich Schiff, Frans Helmerson, David Geringas, Siegfried Palm and the Beaux Arts Trio.
Knut Weber was a scholar and principal cellist of the Gustav Mahler Youth Orchestra before being engaged by the Berliner Philharmoniker. Chamber music is a major focus of his activities. He is a member of the »12 Cellists of the Berlin Philharmonic« and also appears regularly as a soloist and in various chamber ensembles in Europe, Asia, North and South America. His greatest extra-musical interest is his family. In addition, the cellist enjoys sport, especially in the mountains of his native Austria, and he delights in aesthetics, whether in painting, architecture, photography, language or music.
Pianist Anne-Marie McDermott is a consummate artist who balances a versatile career as a soloist and collaborator. She performs over 100 concerts a year in a combination of solo recitals, concerti and chamber music. Her repertoire choices are eclectic, spanning from Bach and Haydn to Prokofiev and Scriabin to Kernis, Hartke, Tower and Wuorinen.
With over 50 concerti in her repertoire, Ms. McDermott has performed with many leading orchestras including the New York Philharmonic, Minnesota Orchestra, Dallas Symphony, Columbus Symphony, Seattle Symphony, National Symphony, Houston Symphony, Colorado Symphony, Pittsburgh Symphony, St. Louis Symphony, Atlanta Symphony, Los Angeles Chamber Orchestra, Moscow Virtuosi, Hong Kong Philharmonic, San Diego Symphony, New Jersey Symphony and Baltimore Symphony among others. Ms. McDermott has toured with the Australian Chamber Orchestra and the Moscow Virtuosi.
In the recent seasons, Ms. McDermott performed with the Philadelphia Orchestra, Buffalo Philharmonic, North Carolina Symphony, Charlotte Symphony, Huntsville Symphony, Alabama Symphony, San Diego Symphony, the Oregon Mozart Players, and the New Century Chamber Orchestra.
Recital engagements have included the 92nd Street Y, Alice Tully Hall, Town Hall, The Schubert Club, Kennedy Center, as well as universities across the country. Anne-Marie McDermott has curated and performed in a number of intense projects including: the Complete Prokofiev Piano Sonatas and Chamber Music, a Three Concert Series of Shostakovich Chamber Music, as well as a recital series of Haydn and Beethoven Piano Sonatas. Most recently, she commissioned works of Charles Wuorinen and Clarice Assad which were premiered in May 2009 at Town Hall, in conjunction with Bach’s Goldberg Variations.
As a soloist, Ms. McDermott has recorded the complete Prokofiev Piano Sonatas, Bach English Suites and Partitas (which was named Gramophone Magazine’s Editor’s Choice), and most recently, Gershwin Complete Works for Piano and Orchestra with the Dallas Symphony and Justin Brown.
In addition to her many achievements and association with Bravo! Vail, McDermott is also Artistic Director of two other festivals; The Ocean Reef Chamber Music Festival in the Florida Keys and The Avila Chamber Music Celebration in Curaçao, off the coast of Venezuela.
As a chamber music performer, Anne-Marie McDermott was named an artist member of the Chamber Music Society of Lincoln Center in 1995 and performs and tours extensively with them each season. She also continues a long standing collaboration with the highly acclaimed violinist, Nadja Salerno Sonnenberg. As a duo, they have released a CD titled “Live” on the NSS label and plan to release the Complete Brahms Violin and Piano Sonatas in the future. Ms. McDermott is also a member of the renowned piano quartet, Opus One, with colleagues Ida Kavafian, Steven Tenenbom and Peter Wiley.
She continues to perform each season with her sisters, Maureen McDermott and Kerry McDermott in the McDermott Trio. Ms. McDermott has also released an all Schumann CD with violist, Paul Neubauer, as well as the Complete Chamber Music of Debussy with the Chamber Music Society of Lincoln Center.
Ms. McDermott studied at the Manhattan School of Music with Dalmo Carra, Constance Keene and John Browning. She was a winner of the Young Concert Artists auditions and was awarded an Avery Fisher Career Grant.
In addition to her duties at Bravo! Vail, Anne-Marie McDermott regularly performs at Festivals across the United States including Spoleto, Mainly Mozart, Sante Fe, La Jolla Summerfest, Mostly Mozart, Newport, Caramoor, Chamber Music Northwest, Aspen, Music from Angelfire, and the Festival Casals in Puerto Rico, among others.
Photo: Zach Mahone
Wednesday, June 28 | 6:00PM
Beethoven's bold genius takes center stage with brilliant artistry, featuring Bravo's Artistic Director and James Ehnes, whose performance of this Violin Concerto is "a marvel" (Gramophone).
Wednesday, July 17 | 6:00PM
The masterful maestro Jaap van Zweden takes on the full range of human experience, from the devastating intensity of Shostakovich to the unbridled exuberance of Beethoven's triumphant Eroica Symphony.
Sunday, July 20 | 6:00PM
The "ferociously talented" (Time Out New York) Conrad Tao makes his Vail debut with Beethoven's Piano Concerto No. 2, combining elegant charm and youthful vitality. Nearly 20 years in the making, the Symphony No. 1 by Brahms is dizzying, complex, and truly transcendent.
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 and non-exchangeable. 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 ticketing@bravovail.org
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?
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