Leon Botstein, the esteemed president of Bard College and music director of the American Symphony Orchestra, has once again demonstrated his commitment to bringing neglected musical treasures to contemporary audiences. His latest endeavor, a revival of Giacomo Meyerbeer’s grand opera “Le Prophète,” marks a significant cultural milestone.
“Le Prophète” last saw a major U.S. production in the late 1970s at the Metropolitan Opera. This makes Botstein’s initiative at Bard’s SummerScape festival all the more remarkable. The festival, now a fixture in the cultural calendar, aims to spotlight overlooked works, and this latest offering does just that.
Botstein’s dedication to musical scholarship is well-known. He believes that Meyerbeer’s works have been unfairly sidelined due to shifting tastes and the rise of operatic realism. “There is no composer in the history of classical music and opera whose posthumous career has been so startlingly destroyed as Meyerbeer,” Botstein asserts.
The production, staged at Bard’s 900-seat Sosnoff Theater, features a stellar cast. Robert Watson takes on the leading role of Jean, with Jennifer Feinstein as Fidès and Amina Edris as Berthe. Under Botstein’s baton, the American Symphony Orchestra brings Meyerbeer’s intricate score to life.
Botstein collaborated with musicologist Mark Everist to restore the opera’s original 11-minute overture, which Meyerbeer had cut during rehearsals. However, the third-act ballet was omitted for practical reasons, with excerpts performed in the lobby during intermissions.
The narrative of “Le Prophète,” set in the 16th century, is reimagined for modern audiences by director Christian Räth. The tale of a demagogue and religious fanatics imposing a theocracy resonates with contemporary issues, adding a layer of relevance to the revival. “The piece unfortunately feels very, very modern and rings a lot of bells for today,” notes Räth.
Leon Botstein’s efforts at Bard College continue to challenge the operatic status quo. As he plans next year’s SummerScape offering, which will feature Smetana’s “Dalibor,” it’s clear that his mission to rescue and celebrate forgotten operatic gems is far from over.