This wonderfully crowd-pleasing program has something for everyone: A colorful high-octane opening, Chopin Competition winner Seong-Jin Cho in his Bravo! Vail debut, and the fiercely flamboyant First Symphony of Rachmaninoff.
THE PHILADELPHIA ORCHESTRA
YANNICK NÉZET-SÉGUIN, CONDUCTOR
SEONG-JIN CHO, PIANO
MOZART: Piano Concerto No. 20 in D minor, K. 466
RACHMANINOFF: Symphony No. 1
ANNA CLYNE (B. 1980)
Anna Clyne was born in London in 1980, studied music from early in life, began composing at age eleven, and received her undergraduate training at Edinburgh University and the Manhattan School of Music. Her career has been on a meteoric trajectory since she completed her education, including an extended residency with the Chicago Symphony Orchestra (2010-2015) during which she composed the Grammy-nominated double-violin concerto Prince of Clouds and five other works. She also led workshops in the city’s schools and juvenile detention center. Clyne’s honors include eight ASCAP Plus Awards, Hindemith Prize, Charles Ives Fellowship from the American Academy of Arts and Letters, and Clutterbuck Award from the University of Edinburgh.
Clyne wrote that Masquerade, commissioned in 2013 for the “Last Night of the Proms” at London’s Royal Albert Hall, “draws inspiration from the original mid-18th century promenade concerts held in London’s pleasure gardens, where people from all walks of life enjoyed a wide array of music and other forms of entertainment, from the sedate to the salacious. The work derives its material from two melodies. For the main theme, I imagined a chorus welcoming the audience and inviting them into their vanished world. The second theme, Juice of Barley, is an old English country-dance melody and drinking song that first appeared in John Playford’s 1695 edition of The English Dancing Master.”
MOZART: Piano Concerto No. 20 in D minor, K. 466
Piano Concerto No. 20 in D minor, K. 466 (1785)
WOLFGANG AMADEUS MOZART (1756-1791)
The year 1785 marked a turning point in Mozart’s attitude toward his work and his public, a change in which this D minor Concerto was central. When he tossed over his secure but hated position with the Archbishop Colloredo in his native Salzburg, he determined that, at age 25, he would go to Vienna to seek his fame and fortune as a piano virtuoso. He found both, at least for the first few years, during which he gave a large number of concerts during the Lenten seasons, when regular theatrical and operatic activities were prohibited. His concertos for those programs satisfied the Viennese requirement for pleasantly diverting entertainment, and they were among the most eagerly awaited of his new music. His success in 1784 may be gauged by the length of the subscription list for his concerts, which included more than 150 names representing the cream of the city’s nobility.
The D minor Concerto of 1785 must have puzzled the concert habitués of Vienna. This new and disturbing work, from a composer who had previously offered such ingratiating pieces, did not conform to their standard for a pleasant evening’s diversion but rather demanded greater attention and a deeper emotional involvement than they were used to expending. Mozart’s tendency in his later years toward a more subtle and profound expression was gained at the expense of alienating his listeners. His aristocratic patrons were not quite ready for such revolutionary ideas, and it is little surprise that when he circulated a subscription list for his 1789 concerts, it was returned with only one signature.
The first movement follows concerto-sonata form and is filled with conflict between soloist and tutti heightened by enormous harmonic, dynamic and rhythmic tensions. The Romanza moves to a brighter key to provide a contrast to the stormy opening Allegro, but even this lovely music summons a dark, minor-mode intensity for one of its episodes. The finale is a complex sonata-rondo form with developmental episodes. The major-key coda provides less a lighthearted, happy conclusion than a sense of catharsis capping the cumulative drama of this noble masterwork.
RACHMANINOFF: Symphony No. 1
Symphony No. 1 in D minor, Op. 13 (1895)
SERGEI RACHMANINOFF (1873-1943)
“If there is a conservatory competition in Hell, this Symphony would gain first prize,” railed César Cui. “Forgive me,” Nikolai Rimsky-Korsakov said to the composer, “but I do not find this music at all agreeable.” The object of these critical thunderbolts was the First Symphony of a 24-year-old Russian musician who had already won the highest rating ever given by the Moscow Conservatory to one of its graduates; established a reputation as a top-notch pianist; had an opera staged by the Moscow Bolshoi; had orchestral, chamber and piano works played by some of the country’s leading artists; acquired a prestigious publisher; and been hailed as a genius by the late Peter Ilyich Tchaikovsky: that is, Sergei Rachmaninoff. After that debacle, it took extensive counseling, including hypnosis, before he could bring himself to compose again, but the Piano Concerto No. 2, premiered successfully in 1901, confirmed his renewed creativity.
Rachmaninoff’s First Symphony follows the conventional four movements, though the faster scherzo comes second, and the slower Larghetto third. The tiny slashing motive of close intervals that opens the work recurs throughout, most obviously at the beginning of each movement. The brief slow introduction contains a broad unison phrase in the strings, which, speeded up, becomes the main theme of the first movement’s sonata form; a Gypsy-influenced melody serves as the contrasting second theme. The development is concerned with the two motives of the main theme. The second movement, the Symphony’s scherzo, is built from a variant of the opening movement’s main theme. The Larghetto takes as its subject a romantic strain, first sung by the clarinet, for which the turbulent central episode, based on the slashing motive that opened the Symphony, provides contrast. The finale gathers together the principal thematic elements of the Symphony as a summary of the entire work.
Yannick Nézet-Séguin is the music director for The Philadelphia Orchestra.
With an overwhelming talent and innate musicality, Seong-Jin Cho is rapidly embarking on a world-class career and considered one of the most distinctive artists of his generation.
Music Director Yannick Nézet-Séguin will lead The Philadelphia Orchestra through at least the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he became the third music director in the history of the Metropolitan Opera, beginning with the 2018-19 season. This consolidates his professional activity around two of the world’s pre-eminent artistic organizations, concentrating and honing his musical future.
Nézet-Séguin, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. Widely recognized for his musicianship, dedication, and charisma, he has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”
Nézet-Séguin has taken The Philadelphia Orchestra to new musical heights in performances at home in the Kimmel Center for the Performing Arts; at the Academy of Music, Carnegie Hall, and the Kennedy Center; in Philadelphia neighborhoods; and around the world. His concerts of diverse repertoire attract sold-out houses, and he continues to make connections within Philadelphia’s rich arts community, showing his commitment to engaging music lovers of all ages across the region. In his seventh season as music director, he launches exciting artistic initiatives, including the culmination of a multi-year celebration of the centenary of Leonard Bernstein’s birth with a symphonically staged production of Candide; Prokofiev’s Romeo and Juliet, featuring the athletic and inventive choreography of Philadelphia-based Brian Sanders; and the world premiere of Hannibal’s community commission Healing Tones.
Nézet-Séguin is embraced by the musicians of The Philadelphia Orchestra and by audiences wherever they perform. He made his inaugural tour with the Orchestra during the 2014 Tour of Asia and the following year led the ensemble on their first European tour together. In September 2015, he conducted the Orchestra in two performances for Pope Francis as part of the World Meeting of Families, at the Festival of Families and the Papal Mass. In 2016 and 2017, NézetSéguin and the Orchestra returned to Asia. In 2018, they toured Europe and Israel to much critical acclaim. “Music director and orchestra were once again able to display their astonishing symbiosis,” said Der Standard. And Ynet commented, “The connection between The Philadelphia Orchestra and its conductor, Yannick Nézet-Séguin, is truly incredible in its unmediated closeness.”
Under Nézet-Séguin’s leadership, the Orchestra returned to recording with a CD on the prestigious Deutsche Grammophon label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions of works by Bach. Their second disc for the label, Rachmaninoff’s Rhapsody on a Theme of Paganini with pianist Daniil Trifonov, was released in August 2015, and their third disc,
Bernstein’s MASS, was released in March 2018. In Nézet-Séguin’s inaugural season, the Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM. In 2017, they also began a national series on SiriusXM.
Nézet-Séguin has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000, and in summer 2017 he became an honorary member of the Chamber Orchestra of Europe. He was music director of the Rotterdam Philharmonic from 2008 to 2018 (he is now the ensemble’s honorary conductor) and was principal guest conductor of the London Philharmonic from 2008 to 2014. He enjoys close collaborations with the Berlin Philharmonic, the Vienna Philharmonic, and the Bavarian Radio Symphony. He has also made wildly successful appearances with many of the world’s other most revered ensembles, including the Boston Symphony, the Los Angeles Philharmonic, the Staatskapelle Berlin, the Staatskapelle Dresden, the Accademia Nazionale di Santa Cecilia, and all the major Canadian orchestras. Throughout Europe and North America, his appearances have left indelible marks on the international classical music scene, making him one of the most sought-after conductors in the world.
Nézet-Séguin’s talents extend beyond symphonic music into the world of opera and choral music. His critically acclaimed performances at New York’s Metropolitan Opera (where he has appeared annually since his debut in 2009, including the opening of the 2015 season), Milan’s La Scala, London’s Royal Opera House, the Vienna State Opera, Netherlands Opera, the Festspielhaus Baden-Baden, and the historic Salzburg Festival demonstrate that he is an artist of remarkable versatility and depth.
Nézet-Séguin and Deutsche Grammophon (DG) embarked on a major long-term collaboration in July 2012; he signed an exclusive contract with the label in May 2018. His upcoming recordings will include projects with The Philadelphia Orchestra, the Metropolitan Opera, the Chamber Orchestra of Europe, and the Orchestre Métropolitain, with which he will also continue to record for ATMA Classique. Additionally, he has recorded with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records, and the London Philharmonic for the LPO label.
A native of Montreal, Nézet-Séguin studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College.
Nézet-Séguin was appointed a Companion of the Order of Canada in 2012, one of the country’s highest civilian honors; Companion to the Order of Arts and Letters of Quebec in 2015; an Officer of the Order of Quebec in 2015; and an Officer of the Order of Montreal in 2017. His other honors include Musical America’s 2016 Artist of the Year, a Royal Philharmonic Society Award, Canada’s National Arts Centre Award, and the Prix Denise-Pelletier, the highest distinction for the arts awarded by the Quebec government. He has also received honorary doctorates from the University of Quebec in Montreal; the Curtis Institute of Music in Philadelphia; Westminster Choir College of Rider University in Princeton, NJ; McGill University; the University of Montreal; and the University of Pennsylvania.
Photo credit: Hans Van Der Woerd
With an overwhelming talent and innate musicality, Seong-Jin Cho is rapidly embarking on a world-class career and considered one of the most distinctive artists of his generation. His thoughtful and poetic, assertive and tender, virtuosic and colorful playing can combine panache with purity and is driven by an impressive natural sense of balance.
Seong-Jin Cho was brought to the world’s attention in 2015 when he won the First Prize at the Chopin International Competition in Warsaw. This same competition launched the careers of world-class artists such as Martha Argerich, Maurizio Pollini, or Krystian Zimerman.
In January 2016, Seong-Jin signed an exclusive contract with Deutsche Grammophon. The first recording was released in November 2016 featuring Chopin’s First Concerto with the London Symphony Orchestra and Gianandrea Noseda and the Four Ballades. A solo Debussy recording was then released in November 2017. Both albums won impressive critical acclaim worldwide. In 2018 he will record a Mozart program with sonatas and the D minor concerto with the Chamber Orchestra of Europe and Yannick-Nézet-Seguin.
An active recitalist, he performs in many of the world’s most prestigious concert halls. In the 2018/19 season, he will return to the main stage of Carnegie Hall as part of the Keyboard Virtuoso series where he had sold out in 2017. He will also return to Amsterdam’s Concertgebouw in the Master Pianists series and will play recitals at the Berlin Philharmonie Kammermusiksaal (Berliner Philharmonic concert series), Frankfurt’s Alte Oper, Los Angeles’ Walt Disney Hall (Los Angeles Philharmonic recital series), Zurich’s Tonhalle-Maag, Stockholm’s Konserthuset, Munich’s Prinzregententheater, Chicago’s Mandel Hall, Lyon’s Auditorium, La Roque d’Anthéron Festival, Verbier Festival, Gstaad Menuhin Festival, Rheingau Festival among several other venues.
During the next two seasons, he will play with the London Symphony Orchestra and Gianandrea Noseda, at the Barbican Centre, Radio France Philharmonic Orchestra and Myung-Whun Chung at the Paris Philharmonie, Gewandhaus Orchestra with Antonio Pappano, Hong Kong Philharmonic with Jaap van Zweden, Pittsburgh Symphony Orchestra with Manfred Honeck, Finnish Radio Orchestra and Hannu Lintu, Philadelphia Orchestra and Yannick-Nézet-Seguin, Orchestra della Scala with Myung-Whun Chung. He will also tour with the European Union Youth Orchestra and Gianandrea Noseda in venues like Amsterdam’s Concertgebouw, Royal Albert Hall, Berlin Konzerthaus, the London Philharmonic Orchestra and Robin Ticciati in Germany, the WDR Sinfonieorchester and Marek Janowski in Germany and Japan, and with the Santa Cecilia Orchestra and Antonio Pappano in Asia.
He collaborates with conductors at the highest level such as Sir Simon Rattle, Valery Gergiev, Esa-Pekka Salonen, Vladimir Ashkenazy, Yuri Temirkanov, Krzysztof Urbanski, Fabien Gabel, Marek Janowski, Vasily Petrenko, Jakub Hrusa, Leonard Slatkin or Mikhail Pletnev.
In November 2017, Seong-Jin stepped in for Lang Lang with the Berlin Philharmonic Orchestra for concerts in Berlin, Frankfurt, Hong-Kong and Seoul. Other major orchestral appearances include the Royal Concertgebouw Orchestra, Orchestre de Paris, Mariinsky Orchestra, Munich Philharmonic Orchestra, Rundfunk-Sinfonieorchester Berlin, Royal Liverpool Philharmonic Orchestra, NHK Symphony Orchestra, Philharmonia Orchestra, Seoul Philharmonic Orchestra, Czech Philharmonic Orchestra, Budapest Festival Orchestra, Danish National Symphony Orchestra, Russian National Orchestra, Detroit Symphony Orchestra, NDR Elbphilharmonie Orchester, RAI Symphony Orchestra, Hessischer Rundfunk Sinfonieorchester.
Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at 6 and gave his first public recital at age 11. In 2009, he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. In 2011, he won Third prize at the Tchaikovsky Competition in Moscow at the age of 17. In 2012, he moved to Paris to study with Michel Béroff at the Paris Conservatoire National Supérieur de Musique where he graduated in 2015. He is now based in Berlin.
Photo: Harald Hoffmann
Thursday, July 11 & Saturday, July 13 | 6:00PM
In the summer of 2019, the stars aligned in thrilling confluence for Puccini's insanely popular opera, from its spine-tingling beginning to its tragic end. In this extraordinary outdoor setting and dramatic stage set, Music Director Yannick Nézet-Séguin—one of the world’s most prominent opera conductors—led an all-star international cast, two choruses, and the exhilarating artistry of The Philadelphia Orchestra.
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.
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).
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