The Fabulous Philadelphians evoke the vivid energy of youth through the magic of music, featuring Prokofiev's Peter and the Wolf, selections from Harry Potter, and Britten's beloved Young Person's Guide to the Orchestra.
THE PHILADELPHIA ORCHESTRA
STÉPHANE DENÈVE, CONDUCTOR
BRUCE ADOLPHE, NARRATOR
ROSSINI/WERDE: Overture to William Tell
PROKOFIEV: Peter and the Wolf
JOHN WILLIAMS: Selections from Harry Potter
BRITTEN: The Young Person's Guide to the Orchestra
Colorado Public Radio Night
ROSSINI/WERDE: Overture to William Tell
Overture to William Tell (1828-1829)
GIOACHINO ROSSINI (1792-1868)
In 1824, Rossini moved to Paris to direct the Théâtre Italien and there became aware of the revolutionary artistic and political trends that were then gaining popularity. Rossini was too closely attuned to public fashion to ignore the changing audience tastes, and he began to cast about for a libretto that would keep him abreast of the latest developments in the musical theater while solidifying his new position in Paris. Schiller’s play William Tell, based on the Swiss struggle against tyranny in the 14th century, had recently created much interest when it was introduced to Paris in a French translation, and Rossini decided that the drama would make a fine opera (or, at least, a saleable one). He seems to have taken special care to incorporate the emerging Romantic style into this epic work, as evidenced by its subject matter, symphonic scope, and attention to dramatic and poetic content. The four sections of the Overture, virtually a miniature tone poem, represent dawn in the mountains, a thunderstorm, the pastoral countryside, and the triumphant return of the Swiss troops.
PROKOFIEV: Peter and the Wolf
Peter and the Wolf, Op. 67 (1936)
SERGEI PROKOFIEV (1891-1953)
The suggestion to create Peter and the Wolf came to Prokofiev from Natalie Satz, director of the Moscow Children’s Theater. The Theater produced operas, concerts and ballets for and with children, and Prokofiev was familiar with its work through taking his sons there. Soon after the Theater moved into a new home in March 1936, Satz asked Prokofiev to write a piece demonstrating the orchestral instruments by associating them with images. “How about the flute as a little bird?” she suggested. “Absolutely,” Prokofiev agreed. “Perhaps a number of animals and birds, and at least one person,” Satz urged. He devised his own tale about a boy and a wolf and completed the music for it in just two weeks. Peter and the Wolf was an immediate success.
A few days after the premiere, Sergei Prokofiev, the famed “children’s composer,” was approached by Anastas Mikoyan, Soviet Commissar of Supplies, with an interesting proposal. Would he participate in a program to popularize children’s songs, poems and fairy tales by writing a little tune that would be printed on wrappings of chocolates, toys and sweets? Prokofiev agreed as soon as he learned that his new song would be used for the wrapper of the chocolates that were his childhood favorite.
JOHN WILLIAMS: Selections from Harry Potter
Selections from Harry Potter
JOHN WILLIAMS (B. 1932)
Wonder is one of the most powerful human emotions, and the ability to inspire it one of the greatest gifts of creative genius. Certainly J.K. Rowling tapped a deep vein of wonder and magic and mystery in millions of readers with her books about the boy wizard Harry Potter and the forces of good and evil ranged around him at Hogwarts, the fantastic academy Harry attends as a student. The first production of what has now become a franchise encompassing not just books and films but video games, theme parks and countless other spin-offs — Harry Potter and the Sorcerer’s Stone — scored a phenomenal success upon its release in November 2001 with Harry’s fans (not to mention studio executives and merchandisers). Harry’s cinematic world was brought to life in Sorcerer’s Stone by fine acting, superb design and special effects, and John Williams’ Oscar-nominated score. “Williams’ music captures the soul of Harry Potter’s world,” said the film’s director, Chris Columbus. “It liberates your imagination, and gives you the freedom to dream, to dream of magic.”
BRITTEN: The Young Person's Guide to the Orchestra
The Young Person’s Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), Op. 34 (1946)
BENJAMIN BRITTEN (1913-1976)
Early in 1945, the British Ministry of Education approached Benjamin Britten with a request to compose music for a film they were preparing to introduce the orchestra to children, and he agreed to the project. He cast his work as a series of variations with a concluding fugue based on the Hornpipe from Purcell’s incidental music to Abdelazar, or The Moor’s Revenge (1695), and gave it the dual title of The Young Person’s Guide to the Orchestra and Variations and Fugue on a Theme of Purcell. (He is said to have preferred the former.) The film, titled simply The Instruments of the Orchestra, was first shown on November 2, 1946, but Britten’s music had already been heard in a concert by the Liverpool Philharmonic Orchestra under the direction of Malcolm Sargent on October 15th.
The Young Person’s Guide is in three large sections. The first presents the full orchestra and then “the four teams of players,” as the instrumental choirs are called in the preface to the score: woodwinds, brass, strings and percussion. The work’s second section is a series of variations introducing the instruments individually. The concluding section is a fugue whose theme is loosely based on Purcell’s melody, with each of the instruments joining the fugue in the order in which it was introduced in the variations. Just as the fugue seems about to burst from its own complexity, Purcell’s original theme is recalled in a gloriously majestic proclamation by the brass while the rest of the orchestra continues the fugue as accompaniment. This masterful essay on orchestral tone color comes to a rousing close with a splash of percussion and a full-throated cadence from the assembled instruments.
Stéphane Denève is Music Director of the Brussels Philharmonic and the St. Louis Symphony Orchestra, former Principal Guest Conductor of The Philadelphia Orchestra, and Director of the Centre for Future Orchestral Repertoire (CffOR).
A renowned composer whose music is performed throughout the world, Bruce Adolphe is also the author of several books on music, an innovative educator, and a versatile performer.
Stéphane Denève is Music Director of the Brussels Philharmonic and the St. Louis Symphony Orchestra, former Principal Guest Conductor of The Philadelphia Orchestra, and Director of the Centre for Future Orchestral Repertoire (CffOR). He has previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra.
Recognized internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for music of the 21st century.
Recent engagements include appearances with the Royal Concertgebouw Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Vienna Symphony, DSO Berlin, NHK Symphony, Munich Philharmonic, Orchestre National de France, Czech Philharmonic, and Rotterdam Philharmonic. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with whom he has appeared several times both in Boston and at Tanglewood, and he regularly conducts The Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Toronto Symphony. He is also a popular guest at many of the US summer music festivals, including Bravo! Vail, Saratoga Performing Arts Center, Hollywood Bowl, Blossom Music Festival, Festival Napa Valley, Grand Teton Music Festival, and Music Academy of the West.
He enjoys close relationships with many of the world’s leading solo artists, including Jean-Yves Thibaudet, Yo-Yo Ma, Nikolaj Znaider, James Ehnes, Leif Ove Andsnes, Leonidas Kavakos, Nicholas Angelich, Lang Lang, Frank Peter Zimmermann, Gil Shaham, Emanuel Ax, Renaud and Gautier Capuçon, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn, and Augustin Hadelich.
In the field of opera, Stéphane Denève led a new production of Pelléas et Mélisande with the Netherlands Opera at the 2019 Holland Festival. Elsewhere, he has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Deutsche Oper Berlin, Saito Kinen Festival, Gran Teatro de Liceu, La Monnaie, Deutsche Oper Am Rhein, and at the Opéra National de Paris.
As a recording artist, he has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck and Connesson. He is a triple winner of the Diapason d’Or of the Year, has been shortlisted for Gramophone’s Artist of the Year Award, and has won the prize for symphonic music at the International Classical Music Awards. His most recent releases include a live recording of Honegger’s Jeanne d’arc au bûcher with the Royal Concertgebouw Orchestra, and two discs of the works of Guillaume Connesson with the Brussels Philharmonic (the first of which was awarded the Diapason d’Or de l’année, Caecilia Award, and Classica Magazine’s CHOC of the Year).
A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre and Seiji Ozawa. A gifted communicator and educator, he is committed to inspiring the next generation of musicians and listeners, and has worked regularly with young people in programs such as those of the Tanglewood Music Center, New World Symphony, the Colburn School, the European Union Youth Orchestra, and the Music Academy of the West.
Bruce Adolphe is a composer, educator, performer, and author whose music is performed worldwide by renowned artists, including Yo-Yo Ma, Itzhak Perlman, Fabio Luisi, Joshua Bell, Sylvia McNair, Carlo Grante, the Washington National Opera, the Orpheus Chamber Orchestra, Jeffrey Kahane and the Los Angeles Chamber Orchestra, the Zürich Philharmonia, the IRIS Orchestra, the Beaux Arts Trio, the Chicago Chamber Musicians, the Brentano String Quartet, the Miami Quartet, the Cassatt Quartet, the Currende Ensemble of Belgium, and over 60 symphony orchestras.
Some career highlights include: Itzhak Perlman’s world premiere performances of Adolphe’s solo violin music at The Kennedy Center and Avery Fisher Hall; Yo-Yo Ma playing the world premiere of Self Comes to Mind, a work based on a text written for the project by neuroscientist Antonio Damasio, at the American Museum of Natural History; violinist Daniel Hope performing the violin concerto I Will Not Remain Silent with the Los Angeles Chamber Orchestra conducted by Jeffrey Kahane in 2017; Joshua Bell performing world premiere of Einstein’s Light with pianist Marija Stroke at UNESCO in Paris as the finale of the United Nations Year of Light, 2015; the Washington National Opera performances of Let Freedom Sing: the story of Marian Anderson (libretto by Carolivia Herron); an evening of Adolphe works at The Kennedy Center; two full-length operas on Jewish subjects at The 92nd Street Y (Mikhoels the Wise and The False Messiah); nine world premieres at The Chamber Music Society of Lincoln Center.
Highlights of the 2015-16 season include the world premiere of Chopin Dreams at Alice Tully Hall, played by Italian pianist Carlo Grante, who also gave the European premiere at the Brahms-saal of the Musikverein, Vienna. This season also sees the release of the film Einstein’s Light by Nickolas Barris, featuring Adolphe’s score, which reflects Einstein’s devotion to playing violin and his love of the music of Mozart and Bach. The soundtrack features violinist Joshua Bell and pianist Marija Stroke, who also performed the work live at the Institute for Advanced Studies, Princeton. Sony Masterworks has released a recording of Einstein’s Light with Joshua Bell and Marija Stroke, available as a download or streaming from all the major music sites. This July (2016) Fabio Luisi conducted the world premiere of Adolphe’s Piano Concerto with soloist Carlo Grante and the Zürich Philharmonia. In June, by Eliot Fisk played the world premiere of Suite for Pete, dedicated to the memory and humanitarian work of Pete Seeger, at the Off the Hook Arts Festival in Colorado.
Highlights of the 2014-15 season included the world premiere of Musics of Memoryat the Brain and Creativity Institute at USC in LA on October 27 and 28, 2014. The work — scored for piano, marimba, harp, and guitar — is structured to reflect the way memory works in the brain. After the performance, there was a discussion about memory, brain, and music with Antonio Damasio, Assal Habibi (director of music research at BCI), and Bruce Adolphe. Also that season, the IRIS Orchestra conducted by Michael Stern gave the world premiere of I Will Not Remain Silent, a violin concerto based on the life of Joachim Prinz, with Sharon Roffman, soloist. On January 19th, 2015, Joshua Bell and Marija Stroke performed highlights of the Einstein’s Light soundtrack live with scenes from the film projected on a screen for the finale of the opening ceremony of The International Year of Light at UNESCO in Paris.
Highlights of the 2013-14 season included performances by the LA Chamber Orchestra, St. Paul Chamber Orchestra, the Cassatt Quartet at the Crystal Bridges Museum and the Institute for Advanced Studies at Princeton, and the premiere of The End of Tonight (poems by Nathalie Handal) for three female voices, three cellos, and piano at the Greene Space in New York. The 2012-13 season included a premiere commissioned for the opening ceremony of MoMath, the only museum of mathematics in America, and a premiere in Lucerne performed by the Human Rights Orchestra, as well as performances from Santa Fe to Lisbon.
Over the past 25 years, Mr. Adolphe has served as composer-in-residence at many festivals and institutions throughout the United States for which he has also created and led educational concerts and workshops for all ages and levels of musical accomplishment. A key figure at The Chamber Music Society of Lincoln Center since 1992, Mr. Adolphe is the founder and director of the Society’s Meet the Music family concert series as well as the Society’s resident lecturer. He has appeared as a commentator on Live From Lincoln Center television and as a regular lecturer at the Metropolitan Museum of Art. The author of three books on music, he has taught at Yale, Juilliard, and New York University. Since 2002, he performs his Piano Puzzlers weekly on public radio’s Performance Today, hosted by Fred Child. With Julian Fifer, Mr. Adolphe co-founded The Learning Maestros, a company dedicated to creating new works and related curricula that integrate music with other disciplines, including science, literature, history, and issues of social conscience. His book The Mind’s Ear: Exercises for Improving the Musical Imagination was published in a second edition in October 2013 by Oxford University Press. Mr. Adolphe’s music is recorded on many labels, including Bridge, Delos, Telarc, PollyRhythm, Albany, CRI, New World, and Naxos (American Masters series).
Mr. Adolphe was recently appointed composer-in-residence at the Brain and Creativity Institute in Los Angeles, where he works with neuroscientists Antonio and Hanna Damasio and Assal Habibi. He lives in New York City with his wife, the pianist Marija Stroke, their daughter Katja, and Polly Rhythm, the opera-singing parrot.
Thursday, July 18 | 6:00PM
Acclaimed British maestro Alexander Joel makes his Vail debut with an evening of classical favorites from the Golden Age of Hollywood to today's latest blockbusters.
Sunday, June 30 | 7:30PM
Featuring visually stunning imagery and groundbreaking special effects, the action-packed adventure of Jurassic Park pits man against prehistoric predators in the ultimate battle for survival. Experience it now, projected in HD with the Dallas Symphony performing John Williams’ iconic score live to picture.
Sunday, July 7 | 6:00PM
Pianist Nicholas Angelich—declared "born to play Brahms" by The Daily Telegraph—makes his triumphant return to Vail with a concerto of grandeur and grace, which pairs beautifully with Prokofiev's evocative portrait of Shakespeare's star-crossed lovers.
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 firstname.lastname@example.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?
Please contact the Box Office at 877.812.5700 Mon–Fri 9AM–4PM (and Sat–Sun 10AM-4PM during the Festival).
Stay up to date on all of the latest news and events from Bravo! Vail.