A revered maestro returns to Vail, and a three-time Grammy-winning violinist makers her long-awaited Bravo debut in this enchanting program filled with nuance and virtuosity.
Lawn screen will be in use during this performance.
THE PHILADELPHIA ORCHESTRA
STÉPHANE DENÈVE, CONDUCTOR
HILARY HAHN, VIOLIN
MENDELSSOHN: Violin Concerto
DUKAS: The Sorcerer's Apprentice
RAVEL: Daphnis et Chloé Suite No. 2
MENDELSSOHN: Violin Concerto
Violin Concerto in E minor, Op. 64 (1844)
FELIX MENDELSSOHN (1809-1847)
Mendelssohn wrote his E minor Violin Concerto for his friend Ferdinand David. They first met at about the age of fifteen while the young violinist was on a concert tour through Germany, and were delighted to discover that they had been born in the same neighborhood in Hamburg only eleven months apart. Mendelssohn, who admired both the man and his playing, saw to it that David was appointed concertmaster of the Leipzig Gewandhaus Orchestra when he became that organization’s music director in 1835, and they remained close friends and musical allies.
The Concerto opens with a soaring violin melody whose lyricism exhibits a grand passion tinged with restless, Romantic melancholy; the second theme is a sunny strain shared by woodwinds and soloist. The succinct development is largely based on the opening theme. A cadenza is used as a bridge to the recapitulation and leads seamlessly into the restatement of the movement’s thematic material. The thread of a single note sustained by the bassoon carries the Concerto to the Andante, a song rich in elegance and warm sentiment; the center section is distinguished by its rustling accompaniment and bittersweet melody. A dozen measures of chordal writing for strings link to the finale, an effervescent sonata form.
DUKAS: The Sorcerer's Apprentice
The Sorcerer’s Apprentice (1897)
PAUL DUKAS (1865-1935)
Parisian composer Paul Dukas’ The Sorcerer’s Apprentice is based on Goethe’s 1797 ballad Der Zauberlehrling, which in turn was derived from the dialogues of the 2nd-century Greek satirist Lucian. The tale tells of a naive apprentice to a wizard who overhears a magic incantation used by his master to animate the household broom into a water-carrier. In the sorcerer’s absence, the neophyte tries the spell on the broom, and — to his delight — it works. The broom marches smartly between well and water basin until the latter is full, then overflowing, then flooding — the apprentice never learned the magic words to stop his wooden servant! Not knowing what to do, he axes the broom in half, only making matters worse — now there are two water-carriers instead of one. More chopping produces more brooms. Just before the novice drowns in his own mischief, the sorcerer returns and, with a sweep of his hand and a muttered word, quiets the tumult.
In Dukas’ tone poem, the quiet, mysterious strains of the beginning depict the wizard and his incantations, while the apprentice scurries about to lively phrases in the woodwinds. When the door slams behind the departing sorcerer (a loud whack on the timpani), the tyro is left in silence. A rumble in the low instruments signals the stirring of the enchanted broom. The rumble becomes a galumphing accompaniment, over which the bassoons play the main theme of the work. This melody, combined with a quicker version of the incantation theme, suggests the aquatic havoc being wrought in the wizard’s absence. At the height of the confusion, the magician bursts through the door (the mysterious music of the opening returns to indicate his presence), and he orders the flood to subside. When peace is restored, the apprentice receives a swift boxing of the ears to end this delightful musical tale.
RAVEL: Daphnis et Chloé Suite No. 2
Suite No. 2 from Daphnis et Chloé (1909-1912)
MAURICE RAVEL (1875-1937)
Ravel’s ballet, set in a visionary ancient Greece, opens in a meadow bordering a sacred wood on the island of Lesbos. Greek youths and maidens enter with wreaths and flowers to place at the altar of the nymphs as the shepherd Daphnis descends from the hills. His lover, Chloé, crosses the meadow to meet him. The girls are attracted to the handsome Daphnis and dance seductively around him, inciting Chloé’s jealousy. Chloé, in turn, becomes the object of the men’s advances, most particularly a crude one from the clownish goatherd Dorcon. Daphnis’ jealousy is now aroused and he challenges Dorcon to a dancing contest, the prize to be a kiss from Chloé. Dorcon performs a grotesque dance and Daphnis easily wins Chloé’s kiss. The crowd leads Chloé away. Daphnis’ attention is suddenly drawn to shouts of alarm from the woods. Pirates have invaded. Daphnis rushes off to protect Chloé, but she returns and is captured. In Scene Two, set on a rugged seacoast, the brigands lead Chloé, hands bound, into their hideaway. She pleads for her release. When the chief refuses, the sky grows dark and the god Pan, arm extended threateningly, appears upon the nearby mountains. The frightened pirates flee, leaving Chloé alone. Scene Three is again set amid the hills and meadows of the ballet’s first scene. It is sunrise. Chloé has been rescued and she appears and throws herself into Daphnis’ arms. The old shepherd Lammon explains to them that Pan has saved Chloé in remembrance of his love for the nymph Syrinx. In gratitude, Daphnis and Chloé re-enact the ancient tale, in which Syrinx is transformed into a reed by her sisters to save her from the lustful pursuit of Pan, who then made a flute from that selfsame reed — the pipes of Pan — upon which to play away his longing. Daphnis and Chloé join in the joyous general dance that concludes the ballet. The Second Suite parallels the action of the ballet’s final Scene: Daybreak, Pantomime of the adventure of Pan and Syrinx, and the concluding General Dance.
Stéphane Denève is the Principal Guest Conductor of The Philadelphia Orchestra.
Three-time Grammy Award-winning violinist Hilary Hahn is renowned for her clear and brilliant musicality, expansive interpretations of an incredibly varied repertoire, and organic connections with her audience.
Stéphane Denève is currently in his sixth season as principal guest conductor of The Philadelphia Orchestra. He spends multiple weeks each year with the ensemble, conducting subscription, tour, and summer concerts. Mr. Denève has become very well known to audiences at Verizon Hall, the Mann Center, the Saratoga Performing Arts Center, and the Gerald R. Ford Amphitheater in Vail, having appeared as guest conductor numerous times since making his debut in 2007. He has led more programs than any other guest conductor during that time period, in repertoire that has spanned more than 100 works, ranging from Classical through the contemporary, including presentations with dance, theater, film, and cirque performers.
He is also the Music Director of the Brussels Philharmonic and the St. Louis Symphony 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 programmes 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.
Photo credit: Bart Dewaele
Three-time Grammy Award-winning violinist Hilary Hahn is renowned for her clear and brilliant musicality, expansive interpretations of an incredibly varied repertoire, and organic connections with her audience. Her creative approach to music-making and her commitment to sharing her experiences with a global community have made her a fan favorite. She recently created the Instagram project #100DaysOfPractice for which she posted videos of herself practicing for a hundred days straight, openly sharing her behind-the-scenes work with her fans to break down perceived barriers around the creative process.
Friday, July 19 | 6:00PM
Augustin Hadelich—longtime Bravo favorite—brings his brilliant warmth to Britten's profoundly emotional concerto, followed by the sumptuous second symphony by Rachmaninoff.
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).
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 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).
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