Posts Tagged ‘Bard Summerscape’
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.
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.
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?
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.
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.
Die Liebe der Danaë Libretto by Joseph Gregor Based on a scenario by Hugo von Hofmannsthal Music by Richard Strauss First N.Y. Fully Staged production July 29 – August 7, 2011 The Richard B. Fisher Center f or the Performing Arts at Bard College The American Symphony Orchestra Leon Botstein, Conductor It’s a bit of […]
Bard SummerScape 2011 Explores the Life and Times of Jean Sibelius with a Seven-Week Arts Festival in New York’s Hudson Valley, July 7 – August 21, 2011
[UPDATE: read our review of the festival here.] Bard SummerScape 2011 Explores the Life and Times of Jean Sibelius with a Seven-Week Arts Festival in New York’s Hudson Valley, July 7 – August 21, 2011 Includes 22nd Bard Music Festival, “Sibelius and His World” and New York’s First Staged Production […]