Brimming with energy, this eclectic program shows off the stylistic versatility and sheer brilliance of both conductor and orchestra. The Bravo! debut of an exciting young violinist in a delightfully elegant, decidedly Romantic concerto is followed by Prokofiev’s irrepressible Symphony No. 5, a brilliant example of musical eclecticism in and of itself, “glorifying the grandeur of the human spirit.” A world premiere by a Puerto Rican-born composer known for vibrant instrumental colors kicks off the evening.
DALLAS SYMPHONY ORCHESTRA: JAAP VAN ZWEDEN, CONDUCTOR
SIMONE LAMSMA, SOLOIST
ROBERTO SIERRA: World Premiere Commissioned by Bravo! - Dos piezas para orquesta
MENDELSSOHN: Violin Concerto
PROKOFIEV: Symphony No. 5
ROBERTO SIERRA: WORLD PREMIERE OF A NEWLY COMMISSIONED WORK, DOS PIEZAS PARA ORQUESTA
Dos piezas para orquesta (“Two Pieces for Orchestra”) Commissioned by Bravo! Vail as part of the NEW WORKS PROJECT.
ROBERTO SIERRA (B. 1953)
Puerto Rican-born composer Roberto Sierra’s lively and idiosyncratic music infuses vibrant Latino eruptions into time-honored classical forms.
Violin Concerto in E minor, Op. 64 (1844)
FELIX MENDELSSOHN (1809-1847)
Mendelssohn wrote his E minor Violin Concerto for his friend Ferdinand David, who was appointed concertmaster of the Leipzig Gewandhaus Orchestra when Mendelssohn became that organization’s music director in 1835. 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 warm sentiment and endearing elegance; 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.
Symphony No. 5, Op. 100 (1944)
SERGEI PROKOFIEV (1891-1953)
“In the Fifth Symphony I wanted to sing the praises of the free and happy man — his strength, his generosity and the purity of his soul.” The “man” Prokofiev invoked in that description of the motivation behind this great Symphony could well have been the composer himself. The work was written in the summer of 1944, one of the happiest times he knew. His home life following marriage to his second wife four years earlier was contented and fulfilling; he was the most famous and often performed of all Soviet composers; and Russia was winning the war. In fact, the success of the premiere of this work was buoyed by the announcement immediately before the concert that the Russian army had just scored a resounding victory on the River Vistula. The composer’s mind was reflected in the fluency and emotional depth of his music.
The Symphony’s opening movement is a large sonata form that begins without introduction. The wide-ranging main theme is presented by flute and bassoon; flute and oboe sing the lyrical second subject. The development gives prominence in its first portion to the opening theme and a skittish motive heard at the end of the exposition; it later focuses on the second theme. The recapitulation is heralded by the brass choir. The scherzo is one of those pieces that Prokofiev would have classified as “motoric:” an incessant two-note rhythmic motive drives the music through its entire first section. The central section is framed by a bold, strutting phrase. The brooding third movement is in a large three-part design. The outer sections are supported by the rhythmic tread of the low instruments used to underpin a plaintive melody initiated by the clarinets. A sweeping theme begun by the tuba serves as the basis for the middle section. The finale opens with a short introduction comprising two gestures based on the first movement’s main theme: a short woodwind phrase and a chorale for cellos. The main body of the movement is a sonatarondo structure propelled by an insistent rhythmic motive. The movement accumulates a large amount of thematic material as it progresses, though it is the solo clarinet playing the main theme that begins each of its important structural sections. An energetic coda ignites several of the movement’s themes into a grand close.
JAAP VAN ZWEDEN, conductor
Jaap van Zweden is the music director for the Dallas Symphony Orchestra.
SIMONE LAMSMA, violin
Dutch violinist Simone Lamsma is respected by critics, peers, and audiences as one of classical music’s most striking and captivating musical personalities.
Roberto Sierra, Composer
For more than three decades the works of Roberto Sierra have been part of the repertoire of many of the leading orchestras, ensembles and festivals in the USA and Europe.
JAAP VAN ZWEDEN, conductor
Jaap van Zweden has risen rapidly in the past decade to become one of today’s most distinguished conductors. He will become the New York Philharmonic’s next Music Director beginning in the 2018–19 season, after serving as Music Director Designate in 2017–18. Mr. van Zweden has been music director of the Dallas Symphony Orchestra since 2008, holding the Louise W. & Edmund J. Kahn Music Directorship, a role he will continue through 2017–18, after which he becomes conductor laureate. He also continues to serve as music director of the Hong Kong Philharmonic, a post he has held since 2012.
Highlights of his 2016–17 season include return visits to the New York Philharmonic, Chicago Symphony Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Orchestre de Paris, and Amsterdam’s Royal Concertgebouw Orchestra, as well as his debut with the Shanghai Symphony Orchestra. Jaap van Zweden has also appeared as guest conductor with The Philadelphia Orchestra; Boston and London Symphony Orchestras; Vienna, Berlin, Munich, and Rotterdam philharmonic orchestras; Orchestre National de France; and Chamber Orchestra of Europe. In 2015 he launched the annual SOLUNA International Music & Arts Festival with the Dallas Symphony, and embarked on a four-year project with the Hong Kong Philharmonic to conduct the first-ever performances in Hong Kong of Wagner’s Der Ring des Nibelungen, which are being released on Naxos Records.
Jaap van Zweden’s acclaimed recordings include Stravinsky’s The Rite of Spring and Petrushka, Britten’s War Requiem, and complete cycles of the Beethoven and Brahms symphonies. He completed a cycle of Bruckner symphonies with the Netherlands Radio Philharmonic, recorded Mahler’s Symphony No. 5 with the London Philharmonic (LPO Live), and released Mozart piano concertos with the Philharmonia Orchestra and David Fray (Virgin). His celebrated performances of Wagner’s Lohengrin, Die Meistersinger von Nürnberg, and Parsifal (the last of which earned him the Edison award for Best Opera Recording in 2012) are available on CD and DVD. On the Dallas Symphony’s own record label, he has released symphonies by Tchaikovsky, Beethoven, Mahler, and Dvořák, as well as the World Premiere recording of Stucky’s August 4, 1964.
Born in Amsterdam, Jaap van Zweden was appointed at 19 as the youngest-ever concertmaster of the Royal Concertgebouw Orchestra and began his conducting career 20 years later in 1995. He remains honorary chief conductor of the Netherlands Radio Philharmonic Orchestra, where he served as chief conductor, 2005–13, and conductor emeritus of the Netherlands Radio Chamber Orchestra. He also held the post of chief conductor of the Royal Flanders Orchestra, 2008–11.
Mr. van Zweden was named Musical America’s 2012 Conductor of the Year. In 1997 Jaap van Zweden and his wife, Aaltje, established the Papageno Foundation to support families of children with autism. Papageno has helped music therapists and musicians train to use music as a major tool for working with autistic children. Papageno House, a new home for autistic young adults and children, was opened in Laren, The Netherlands, in August 2015, attended by Her Majesty Queen Maxima.
Photo: Bert Hulselmans
SIMONE LAMSMA, violin
Hailed for her “brilliant… polished, expressive and intense” (Cleveland Plain Dealer) and “absolutely stunning” (Chicago Tribune) playing, Dutch violinist Simone Lamsma is respected by critics, peers and audiences as one of classical music’s most striking and captivating musical personalities. Conductor Jaap van Zweden with whom Simone enjoys a regular collaboration, describes her as one of the leading violinists in the world.
With an extensive repertoire of over 60 Violin Concertos, Simone’s recent seasons have seen her perform with many of the world’s leading orchestras.
Notable recent highlights include her debut with the Chicago Symphony, described by the Chicago Tribune as “piercingly beautiful”, as well as performances with the Cleveland Orchestra, Royal Stockholm Philharmonic, Royal Concertgebouw Orchestra, Netherlands Radio Philharmonic, Rotterdam Philharmonic, Orchestre Philharmonique de Radio France, BBC Philharmonic, Frankfurt Radio Symphony, Orchestra Sinfonica Nazionale della RAI, RTVE Symphony, New Zealand Symphony, a tour of China with the Hong Kong Philharmonic under Jaap van Zweden, and a successful performance of the French première of Michel van der Aa’s Violin Concerto with the Orchestre National de Lyon, stepping in at just 10 days notice.
Stand-out recent festival appearances include her return to the Cleveland Orchestra at Blossom Festival in 2015, as well as the Mainly Mozart Festival in San Diego, about which the San Diego Reader wrote: “She (Simone Lamsma) appeared to be engaged with Beethoven on a level we seldom encounter….. Beethoven’s music was coming through her in a pure state.”
Besides her close collaboration with Jaap van Zweden, Simone has worked with many other eminent conductors including Vladimir Jurowski, Sir Neville Marriner, Yannick Nézet-Séguin, Jukka-Pekka Saraste, James Gaffigan, Sir Andrew Davis, Andrès Orozco-Estrada, Jiří Bělohlávek, Marek Janowski, Carlos Kalmar, Kirill Karabits, Stéphane Denève, Hannu Lintu, Yan Pascal Tortelier, Markus Stenz, Juanjo Mena, Fabien Gabel and James Feddeck.
Highlights for the 16/17 season include debuts with the National Symphony Orchestra of Washington, National Arts Centre Orchestra Ottawa, Vancouver Symphony, BBC National Orchestra of Wales, RTE and Iceland Symphony, as well as return invitations to the London Philharmonic, Dallas Symphony, San Francisco Symphony, Oregon Symphony, Seoul Philharmonic, Residentie Orchestra and Royal Flemish Philharmonic.
In April 2017 she will return to the Netherlands Radio Philharmonic to perform the world première of Matijs de Roo’s Violin Concerto at the Concertgebouw in Amsterdam. This season will also mark her Japanese debut, performing with the Yomiuri Nippon Symphony Orchestra as well as in recital with pianist Yurie Miura.
A dedicated chamber musician, other recital appearances include Simone’s highly anticipated debuts in London’s Wigmore Hall and New York’s Carnegie Hall in March 2017 with pianist Robert Kulek, where their programme will include the world première of a new work by James MacMillan, commissioned by Carnegie Hall. She will also return to the Chicago Winter Chamber Music Festival Evanston performing sonatas and trios with pianist Andrew Armstrong and cellist Kenneth Olson.
In 2015 Simone’s most recent recording of sonatas by Mendelssohn, Janáček and Schumann with pianist Robert Kulek was released on the Challenge Records label, receiving high accolades from the press.
Her recording of Shostakovich Violin Concerto no.1 and Gubaidulina’s ‘In tempus praesens’ with the Netherlands Radio Philharmonic under James Gaffigan and Reinbert de Leeuw will be released in March 2017, also on Challenge Records.
In addition to her many (inter)national prizes and distinctions, Simone was awarded the national Dutch VSCD Classical Music Prize in the category ‘New Generation Musicians’ in 2010, awarded by the Association of Dutch Theatres and Concert Halls to artists that have made remarkable and valuable contributions to the Dutch classical music scene.
Simone began studying the violin at the age of 5 and moved to the UK aged 11 to study at the Yehudi Menuhin School with Professor Hu Kun. At the age of 14 Simone made her professional solo debut with the North Netherlands Orchestra performing Paganini’s 1st Violin Concerto, her debut highly praised by the press. She continued her studies at the Royal Academy of Music in London with Professor Hu Kun and Professor Maurice Hasson, where she graduated aged 19 with first class honours and several prestigious awards. In 2011, she was made an Associate of the RAM, an honour given to those students who have made significant and distinguished contributions to their field. Simone currently lives in The Netherlands.
Simone plays the “Mlynarski” Stradivarius (1718), on generous loan to her by an anonymous benefactor.
Photo: Otto van den Toorn
Roberto Sierra, Composer
At the inaugural concert of the 2002 world renowned Proms in London, his Fandangos was performed by the BBC Symphony Orchestra in a concert that was broadcast by both the BBC Radio and Television throughout the UK and Europe. Many of the major American and European orchestras and international ensembles have commissioned and performed his works. Among those ensembles are the orchestras of Philadelphia, Pittsburgh, Atlanta, New Mexico, Houston, Minnesota, Dallas, Detroit, San Antonio and Phoenix, as well as the American Composers Orchestra, the New York Philharmonic, Los Angeles Philharmonic, National Symphony Orchestra, Royal Scottish National Orchestra, the Tonhalle Orchestra of Zurich, the Spanish orchestras of Madrid, Galicia, Castilla y León, Barcelona, Continuum, St. Lawrence String Quartet, Opus One, and others.
Commissioned works include: Concerto for Orchestra for the centennial celebrations of the Philadelphia Orchestra commissioned by the Koussevitzky Music Foundation and the Philadelphia Orchestra; Concerto for Saxophones and Orchestra commissioned by the Detroit Symphony Orchestra for James Carter; Fandangos and Missa Latina commissioned by the National Symphony Orchestra of Washington DC; Sinfonía No. 3 "La Salsa", commissioned by the Milwaukee Symphony Orchestra; Danzas Concertantes for guitar and orchestra commissioned by the Orquesta de Castilla y León; Double Concerto for violin and viola co-commissioned by the Pittsburgh and Philadelphia Orchestras; Bongo+ commissioned by the Juilliard School in celebration of the 100th anniversary; Songs from the Diaspora commissioned by Music Accord for Heidi Grant Murphy, Kevin Murphy and the St. Lawrence String Quartet; and Concierto de Cámara co-commissioned by the the Santa Fe Chamber Music Festival, Chamber Music Northwest and Stanford Lively Arts.
In 2003 he was awarded the Academy Award in Music by the American Academy of Arts and Letters. The award states: "Roberto Sierra writes brilliant music, mixing fresh and personal melodic lines with sparkling harmonies and striking rhythms. . ." His Sinfonía No. 1, a work commissioned by the St. Paul Chamber Orchestra, won the 2004 Kenneth Davenport Competition for Orchestral Works. In 2007 the Serge and Olga Koussevitzky International Recording Award (KIRA) was awarded to Albany Records for the recording of his composition Sinfonía No. 3 “La Salsa”. Roberto Sierra has served as Composer-In-Residence with the Milwaukee Symphony Orchestra, The Philadelphia Orchestra, The Puerto Rico Symphony Orchestra and New Mexico Symphony. In 2010 he was elected to the prestigious American Academy of Arts and Sciences.
Roberto Sierra's Music may be heard on CD's by Naxos, EMI, UMG’s EMARCY, New World Records, Albany Records, Koch, New Albion, Koss Classics, BMG, Fleur de Son and other labels. In 2011 UMG’s EMARCY label released Caribbean Rhapsody featuring the Concierto for Saxophones and Orchestra commissioned and premiered by the DSO with James Carter. In 2004 EMI Classics released his two guitar concertos Folias and Concierto Barroco with Manuel Barrueco as soloist (released on Koch in the USA in 2005). Sierra has been nominated twice for a Grammy under best contemporary composition category, first in 2009 Missa Latina (Naxos), and in 2014 for his Sinfonia No. 4 (Naxos). In addition his Variations on a Souvenir (ALbany) and Trio No. 4 (Centaur) were nominated for Latin Grammys in 2009 and 2015.
Roberto Sierra was born in 1953 in Vega Baja, Puerto Rico, and studied composition both in Puerto Rico and Europe, where one his teachers was György Ligeti at the Hochschule für Musik in Hamburg, Germany. The works of Roberto Sierra are published principally by Subito Music Publishing (ASCAP).
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Where are the 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 generally start promptly at 6pm (except for movie screenings which start at 7:30 or 8pm). The GRFA lobby opens 90 minutes prior to performances and gates open 60 minutes prior to performances. Please be sure to give yourself plenty of time to park and get into the venue; latecomers will be admitted at an appropriate interval, escorted by volunteers from the Bravo! Vail Guild.
How long do concerts last?
Concerts generally last under two hours. Please check performance pages beginning in April for specific running times.
How do I buy tickets?
Tickets, subscriptions, passes,and gift certificates may be ordered in the following ways:
• Phone 877.812.5700 or Fax 970.827.5707
• Mail or in-person Bravo! Vail 2271 N Frontage Rd W Suite C, Vail, CO 81657
• Email firstname.lastname@example.org
Ticket delivery methods are Mail, Print at Home, and Will Call. Bravo! Vail accepts all major credit cards (Amex, Visa, MasterCard and Discover), cash, and checks with proper identification. There is a $2 order fee per ticket.
What are the Box Office hours?
Bravo! Vail Box Office hours are Monday through Friday from 9am to 4pm. Starting June 17, hours include Saturday and 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) beginning mid-June. Tickets for upcoming performances may be purchased on-site during concert intermissions.
Where is the Will Call window?
Will Call tickets may be picked up at the Box Office located to the right of the main entrance lobby. The Box Office is open 11am to concert start time beginning mid-June. Will Call tickets may also be picked up during concert intermissions.
Does Bravo! Vail offer group pricing?
Group sales discounts of up to 15% for groups of 15 or more are available to select concerts. Please call 970.827.4316 for more information, or view the Group Sales page.
What if I buy tickets and cannot attend?
All sales are final. If you are unable to attend your concert, please call the Box Office at 877.812.5700 at least two hours prior to the concert to donate the tickets for resale or drop them off at the venue so seats can be filled by another music lover. You will receive a ticket release receipt in the mail. If you wish to give tickets to a friend, you may call the Box Office to leave them in your friend's name at Will Call.
What if I misplace or forget to bring my tickets?
The Box Office can reprint your tickets if needed.
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 Premium Aisle, Premium, Reserved, and Saver sections which reflect all reserved seating zones and prices.
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 in order to sit in this area.
By purchasing an ADA seat, you are stating that you require an ADA seat and if purchased fraudulently, you may be subject to relocation.
If you need further assistance purchasing ADA seating, please call the Box Office at 877.812.5700.
What should I bring to the concert?
If you have lawn seating at Gerald R. Ford Amphitheater, you should plan to bring a blanket to sit on, sunglasses, and a hat or visor. Lawn chairs with legs under 4 inches tall are allowed. Vail weather can be unpredictable so rain gear and a jacket are recommended. Concessions are available at Gerald R. Ford Amphitheater, but you are welcome to bring food and non-alcoholic sealed drinks. Per Colorado State Law, you may not bring outside alcoholic beverages into any Bravo! Vail venue. For your safety and the safety of all of our guests, backpacks, bags, purses, picnic baskets, and coolers will be checked upon entry to Gerald R. Ford Amphitheater. The following articles are not allowed:
• Alcoholic beverages (picnics and commercially sealed non-alcoholic beverages are permitted, and concessions with food and alcohol sales are available at the venue)
• Bikes, inline skates, scooters, and skateboards
• Cameras and recording devices
• Lawn chairs with legs higher than 4 inches (lawn chair rentals are $10)
What food and beverages are available for purchase at GRFA?
Popcorn, candy, burgers, sandwiches, and salads are available for purchase at concessions inside GRFA. A full bar is also available to purchase beer, wine, and alcohol. All major credit cards and cash are accepted for payment. In the pavilion seating, we recommend eating prior to the concert or at intermission.
Food and commercially sealed non-alcoholic beverages may be brought into the GRFA.
What if it rains?
Concerts take place rain or shine. 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 — wear what makes you most comfortable! You can dress formally, or opt for jeans and a t-shirt, or anything in between. Just one word of advice: while the summers in Colorado are perfect, the evenings often bring rain showers and cooler temps. We recommend being prepared for both.
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 are some general rules of concert etiquette?
Above all, we want you to have a beautiful, musically rich concert experience. We ask that all concertgoers help to ensure a mutually enjoyable evening by silencing all devices such as cell phones and watch alarms. Please take time to turn these off prior to performances, so they don’t disrupt musicians and other patrons. Likewise, please limit conversations and other noisy activities during the music, so everyone can enjoy the concert undisturbed. In the pavilion seating, we recommend eating prior to the concert or at intermission.
What else should I know?
Vail is at high elevation so don’t forget to hydrate and use sun protection. Visitors from lower elevations may experience altitude sickness when traveling to and visiting Vail. Be sure to drink water to allow your body to acclimate to the change in oxygen levels.
What if I still have questions?
Please don’t hesitate to contact the Box Office at 877.812.5700 Monday–Friday 9am–4pm MST with any questions you have.