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Performance Details

Monday, February 20 | 7:00 p.m.
Tickets: $35.50–$40.50

  • Circle of Friends donors who give $500+ annually are eligible for 10% off concert tickets. Call 480.478.6000 for more information.



More Information

Winter/Spring 2017 Concert Series
sponsored by:


Villalobos Brothers

The Villalobos Brothers have been acclaimed as one of today’s leading contemporary Mexican ensembles. Their original compositions and arrangements, masterfully blended, celebrate the richness of Mexican folk music with the intricate harmonies of jazz and classical music. They deliver an intoxicating brew of brilliance, cadence, and virtuosity that awaken the senses and mesmerize the listener.

The brothers were the first Mexican band ever to play at the Apollo Theater in Harlem, New York City, as featured guest artists, adding this historic venue to an already impressive list of credits that includes the Latin Grammy Awards, Carnegie Hall, Lincoln Center, the Metropolitan Museum of Art, the United Nations, Rockefeller Center, John F. Kennedy Center for the Performing Arts, and the John Anson Ford Theatre in Hollywood. They have collaborated and recorded with legendary musicians, including Dolly Parton, Paddy Moloney and the Chieftains, Dan Zanes, Jay Rodríguez, Pierre Boulez, and Eddie Palmieri.

The Villalobos Brothers were born and raised in Xalapa, Veracruz, Mexico. They spent their childhood listening to their grandmother Cristina Vásquez sing and play guitar and accordion after a day’s work. They took up the violin as children and soon learned to sing and play other instruments, including guitar and piano.

The Villalobos Brothers band consists of Ernesto Villalobos, lead vocals and violin; Alberto Villalobos, lead vocals and violin; Luis Villalobos, lead vocals and violin; Humberto Flores, backup vocals and guitar; Rosa Ávila, drums; and Leo Sherman, bass.

“I’m speechless, I’m blown away . . . I have never seen anything like this before.”—WNYC

“They played with exuberant intensity for the appreciative audience. . . . With their heads bowed . . . fingers jumping and feet tapping, they weren’t just playing music, they were living it.”—Forward

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