Sultry dance plus sizzling music equals a seductive evening of pure passion, featuring star soprano Camille Zamora, the phenomenal Héctor Del Curto on bandoneón, and award-winning Argentinian dancers.
DALLAS SYMPHONY ORCHESTRA
JEFF TYZIK, CONDUCTOR
CAMILLE ZAMORA, SOPRANO
HÉCTOR DEL CURTO, BANDONEÓN
ARGENTINIAN DANCERS: PATRICIO TOUCEDA & SONYA TSEKANOVSKY AND TOMAS GALVAN & GIMENA HERRERA
Sultry dance plus sizzling music equals a seductive evening of pure passion.
The Argentinean tango, like American ragtime and jazz, is music with an intriguing past. Its deepest roots extend to Africa and the fiery dances of Spain, but it seems to have evolved most directly from a slower Cuban dance, the habanera (whose name honors that nation’s capital), and a faster native Argentinean song form, the milonga, both in duple meter and both sensuously syncopated in rhythm. These influences met at the end of the 19th century in the docklands and seamier neighborhoods of Buenos Aires, where they found fertile ground for gestation as the influx of workers streaming in from Europe to seek their fortunes in the pampas and cities of South America came into contact with the exotic Latin cultures. The tango — its name may have been derived from a word of African origin meaning simply “dance,” or from the old Castilian taño (“to play an instrument”), or from a type of drum used by black slaves, or from none of these — came to embody the longing and hard lives of the lower classes of Buenos Aires, where it was chiefly fostered in bawdy houses and back-alley bars by usually untutored musicians. The texts, where they existed, dealt with such forlorn urban topics as faithless women, social injustice and broken dreams. In the years around World War I, the tango migrated out of the seedier neighborhoods of Argentina, leaped across the Atlantic to be discovered by the French, and then went on to invade the rest of Europe and North America. International repute elevated its social status, and, spurred by the glamorous images of Rudolph Valentino and Vernon and Irene Castle, the tango became the dance craze of the 1930s. Tango bands, comprising four to six players (usually piano, accordion, guitar and strings) with or without a vocalist, flourished during the years between the world wars, and influenced not just the world’s popular music but also that of serious composers: one of Isaac Albéniz’s most famous works is his Tango in D; William Walton inserted a tango into his “Entertainment with Poems” for speaker and instruments, Façade; and Igor Stravinsky had the Devil in The Soldier’s Tale dance a tango and also composed a Tango for Piano.
Though the tango was among the most popular dance and entertainment forms of the early 20th century, it was the brilliant Argentinean composer and bandoneónist Astor Piazzolla whose daring innovations brought it into the concert hall. Born near Buenos Aires in 1921 and raised in New York City, Piazzolla returned home and joined the popular tango orchestra of Anibal Troilo as arranger and bandoneón player when he was sixteen. He studied classical composition with Alberto Ginastera in Buenos Aires, and in 1954 wrote a symphony for the Buenos Aires Philharmonic that earned him a scholarship to study in Paris with Nadia Boulanger, the renowned teacher of Copland, Thomson, Carter and many other of the best American composers. When Piazzolla returned to Buenos Aires in 1956, he founded his own performing group and began to create a modern style for the tango that combined elements of traditional tango, Argentinean folk music and contemporary classical, jazz and popular techniques into a “Nuevo Tango” that was as suitable for the concert hall as for the dance floor. “Traditional tango listeners hated me,” he recalled. “I introduced fugues, counterpoint and other irreverences: people thought I was crazy. All the tango critics and radio stations of Buenos Aires called me a clown, they said my music was ‘paranoiac.’ And they made me popular. The young people who had lost interest in the traditional tango started listening to me. It was a war of one against all, but in ten years, the war was won.” Piazzolla came to be regarded as the musician who had revitalized one of the quintessential genres of Latin music, and he was honored with a Grammy nomination and awards from Down Beat and other international music magazines and from the city of Buenos Aires. Astor Piazzolla continued to tour widely, record frequently, and compose incessantly until he suffered a stroke in Paris in August 1990. He died in Buenos Aires on July 5, 1992.
JEFF TYZIK, conductor
Jeff Tyzik is the Principal Pops Conductor for the Dallas Symphony Orchestra.
HÉCTOR DEL CURTO, bandoneón
Praised by The New York Times as a "splendid player," Argentinean bandoneonist Héctor Del Curto's career, spanning for more than twenty–five years, has encompassed the traditional Tango, New Tango, Jazz, Classical and World music.
JEFF TYZIK, conductor
GRAMMY Award winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming and engaging rapport with audiences of all ages. Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as Principal Pops Conductor of the Seattle Symphony, the Detroit Symphony, the Oregon Symphony and The Florida Orchestra. This season, Tyzik will celebrate his 23rd season as Principal Pops Conductor of the Rochester Philharmonic Orchestra.
Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic and the Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO which stayed in the Top 10 on the Billboard classical chart for over three months. Alex Ross of The New Yorker, called it “one of the snappiest Gershwin discs in years”.
Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music.
Photo: Greenberg Artists
HÉCTOR DEL CURTO, bandoneón
Praised by The New York Times as a "splendid player," Argentinean bandoneonist Héctor Del Curto's career, spanning for more than twenty–five years, has encompassed the traditional Tango, New Tango, Jazz, Classical and World music. As one of the most sought–after bandoneonist, he has performed with luminaries across many musical genres including the Tango legends, Astor Piazzolla and Osvaldo Pugliese, latin jazz giant Paquito D'Rivera, jazz violinist Regina Carter, saxophonist Joe Lovano, violinist Cho–Liang Lin and appeared with prestigious orchestras such as Metropolitan Opera Orchestra, St Louis Symphony Orchestra, National Symphony Orchestra, Orpheus Chamber Orchestra, Rochester Philharmonic Orchestra, Mobile Symphony and Buenos Aires Symphony Orchestra.
Born into a family of bandoneon players, Mr. Del Curto was introduced to the world of Tango and bandoneon by his grandfather, Héctor Cristobal. By the age of 17, he had won the title "Best Bandoneon Player Under 25" in Argentina, and was invited to join the orchestra of the legendary Osvaldo Pugliese, the "Last Giant of Tango." In 1999, Mr. Del Curto received the Golden Note Award from the Italian–American Network in recognition of his artistic achievements. As a music director, he directed the spectacular show Forever Tango on Broadway and founded the Eternal Tango Orchestra, a ten piece ensemble. Since the Lincoln Center début in 2003, the Eternal Tango Orchestra (now the Hector Del Curto Tango Orchestra) returned to Lincoln Center for three more engagements and performed at other various venues including the Skirball Center for Performing Arts.
His celebrated quintet has appeared in venues and festivals such as Lincoln Center, Hobby Center for the Performing Arts, Richard B. Fisher Center for the Performing Arts at Bard College, Eastman School of Music, Bay Chambers Concerts, National Folk Festival, Levitt Pavilion for the Performing Arts, Fiesta Iberoamericano de las Artes in Puerto Rico, Festival Internacional da Safona and Copa Fest in Brazil among many others.
A musician who is dedicated to the education, outreach and preservation of tango music, Mr. Del Curto founded the Stowe Tango Music Festival, the premier tango music festival in the United States, noted both for its unique series of performances and its high level of musical training. As the festival's Artistic Director, he directs the Stowe Tango Music Festival Orchestra, a 20 plus piece tango orchestra comprised of an extraordinary group of selected students from all over the globe and world-class artists including guest tango legends from Argentina.
Mr. Del Curto recently produced and released his second album Eternal Piazzolla featuring his quintet with a sold out CD release concert at Le Poisson Rouge in New York City. He was featured along with his first CD Eternal Tango on BBC News which was televised nationally and internationally and on Public Radio International's The World.
He appears in numerous recordings with artists such as Osvaldo Pugliese and Astor Piazzolla on Finally Together (Lucho), Pablo Ziegler on the albums Asphalto, Quintet for the New Tango (BMG), and Tango & All That Jazz, Paquito D'Rivera on Funk Tango, Jazz Clazz and Panamericana Suite Tito Puente and Eddie Palmieri on Masterpiece, Plácido Domingo's Encanto del Mar (Sony Classical), Erwin Schrott on Rojotango(Sony Classical), Denyce Graves' The Lost Days (BMG), Absolute Ensemble on Bach Reinvented (Sony Classical), Fernando Otero on Plan, Vital and Pagina de Buenos Aires, Ricardo Arjona's Quién Dijo Ayer and Santo Pecado (Sony International), and Shakira's Laundry Service.
Photo: Sergio R. Reyes
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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. You may exchange your tickets ($7 fee per ticket) by calling the Box Office at 877.812.5700 up to 2 days before the concert. 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).