Tag Archive: Bard Summerscape

The Bard Music Festival 2017: Chopin and His World—a Preview

Chopin at 25, by his fiancée Maria Wodzińska, 1835. Watercolor and ink on Bristol board. National Museum Warsaw.

Many of us who attend the Bard Music Festival look forward to it with the same warm anticipation we once looked forward to Christmas. Two weekends are packed with music, much of it we’ve never heard before, some of it great, some good, some interesting. There are panel discussions and lectures to help tie it all together, usually pitched at a general educated audience, but always with surprises and things one didn’t know before. And there is a feast of discussion, with the musicians, with the speakers, and with each other. It’s not so much that there is music to be enjoyed and a historical context to learn: through the immersion in immediate, live concerts and contact with knowledgeable humans a unique experience emerges in which we can live this whole of sensual and intellectual pleasure, analysis, and a direct understand of the cultural and social whole in which the music was created. The difference between this and the traditional sources of background information available to concertgoers—i.e. program notes—is like a month in Paris against a travel brochure.



Dvořák’s Rare Grand Opera, Dimitrij, Coming Up at Bard Summerscape, beginning July 28 [REVISED]

Olga Tolkmit as Xenia in Dvořák's grand opera, Dimitrij at Bard Summerscape, 2017.

Bard Summerscape visitors have much to look forward to in this year’s fully-staged production of Dvořák’s rarely performed grand opera, Dimitrij. For this ambitious work Dvořák set a Russian subject, the unhappy fate of the false pretender, Dimitrij, who appeared after the death of Boris Godunov, presenting himself as the son of Ivan the Terrible. The libretto was by Marie Červinková-Riegrová, one of the preeminent Czech librettists of the time, the deeply educated daughter of leading Czech politician František Ladislav Rieger, and a granddaughter of the famous historian František Palacký. In her libretto, which advisedly took liberties with historical accuracy, Dimitrij was a young Russian serf who was taken up by Poles and brought up to believe that he was in fact the son of Ivan. Hence in this opera, he is the innocent victim of ruthless Poles, eager to destabilize Russia. He is unhappily married the the Polish Princess Marina, who is merely interested in using him for her own national and personal ends.



From Summer Opera…an Answer to the Opera Houses’ Predicament?

Euryanthe From left, Peter Volpe, Ryan Kuster, William Burden and Ellie Dehn, at Bard SummerScape . Photo Cory Weaver.

Permit me to indulge in a one-sided argument…or a rant, as I believe it’s called in the blogging world—which is not ours at New York Arts and The Berkshire Review!

Opera in the United States is particularly unsettled at the moment, if not in trouble. Both audiences and sources of funding are on a downward curve, although the better-managed companies seem to be coping. The biggest beast of all, The Metropolitan Opera, compromised by the bad judgement of its General Director, Peter Gelb, is the most worrisome of all.



Summer Operas: Opposite Poles at Bard SummerScape and Boston Midsummer Opera

Neal Cooper (Mark) in the Bard SummerScape production of Ethel Smyth’s 'The Wreckers.' Photo by Cory Weaver.

If I were one of those opera aficionados who thrives on adding unusual operas to a list, I’d be in heaven. I saw two opera productions this summer — not by Puccini, Verdi, Wagner, or Mozart, but by Friedrich von Flotow and Edith Smyth — and I’d never seen either of them before. One of them was typical summer entertainment, a light and charming comedy, in a modest, stripped down production; the other just the opposite — a grim tragedy that looked as if a lot of money had been thrown at it.



John Banville’s Love in the Wars after Kleist’s Penthesilea at Bard Summerscape

Chris Stack (Achilles) and Birgit Huppuch (Penthesilea) in Love in the Wars. Photo Cory Weaver.

If one has read one’s Classics, or has acquired a passion for ancient literature later in life and has read, say, Homer and the tragic poets with some attention, or, perhaps I should say, is older than fifty, one, in some human situation, whether intimate, passionate, urgent, or trivial, will occasionally get an uncanny feeling that one is living out Greek myth—that under one’s skin Achilles, Hermes, or Thetis are making us act and speak from within, as if we twenty-first century humans were nothing more than costumes for some drama of great antiquity that plays itself out continuously over millennia in strands intertwined with other narratives. Is this fate, or archetype, or merely common or garden human nature, observed as keenly by Homer, Pindar, and Euripides as by Dickens, Nietzsche, or Proust?



Sergey Ivanovich Taneyev’s Oresteia comes to Bard…then on to the Mariinsky!

Director Thaddeus Strassberger in rehearsal with Maria Litke as Pallas Athena and chorus on the stage of the Sosnoff Theater, Fisher Performing Arts Center, Bard College, July 17, 2013. Photo Eleanor Davis.

Every summer, in the course of Bard College’s Summerscape, the expansive net of entertainment, education, and enlightenment Leon Botstein and his cohorts cast about the Bard Music Festival, we get an opportunity to enjoy a rare opera, which has either fallen out of, or never entered, the basic repertory of the art form—an opera you will never see at the Met. In many cases the reasons these works disappeared is either straightforward or practical: tastes change, or the management of mainstream opera houses ceased to find it workable to engage a cast of six or eight lead singers when the most popular operas required only two. In other cases the reasons are mysterious, complex, or otherwise fascinating.



Chabrier’s Le Roi malgré lui, a Forgotten Comic Masterpiece, at Bard Summerscape, July 27-August 5, 2012

This year Bard Summerscape’s annual opera and operetta are fused into one in Emmanuel Chabrier’s Le roi malgré lui, a true opéra comique, written for the homonymous theater in Paris. In this genre, with which Leon Botstein indulged New York audiences with Bizet’s Djamileh this past spring, the effervescent humor we associate with operetta meets the more careful writing and construction of opera. As delightful as Djamileh was—and it did offer something more substantial than the Strausses, Offenbach, and Gilbert and Sullivan—Le roi malgré lui is in a different league. Chabrier painstakingly worked over a worse than mediocre play of the 1830’s, transforming it into a psychologically convincing and witty libretto and setting it to original, even daring music, such as only he could write, to create a sophisticated, forward-looking operatic work. As I go through what has been written about the opera and its composer, everyone who knows it exudes a warm affection and intellectual respect for both.



Golden Bough: Richard Strauss’s Die Liebe der Danae

In my preview of this opera, I maintained that Die Liebe der Danae (more properly, Danaë, emphasizing the “ahh-aay” of the last two vowels), is a rarely performed treasure from the last years of Richard Strauss. Based on Maestro Botstein’s wonderful recording a decade ago, I wondered whether an actual stage production could do justice to the music. Joseph Gregor’s libretto seemed wayward to me, so that seemed the biggest obstacle for a felicitous live production. In fact, this new production at Bard’s Summerscape, directed by Kevin Newbury, lived up to, and exceeded all my expectations. Musically, it turns out as one of Strauss’s most attractive works; and the libretto, while quirky and vapid at times, inspired a humorous, imaginative and completely enchanting production.



A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.