Tag Archive: Bard Summerscape

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  …
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Meyerbeer’s Les Huguenots: French Grand Opera Comes to Bard.

Marie Lenormand as Urbain in Meyerbeer's Les Huguenots

The summer festivals have been proceeding creditably, but now the Important Events are beginning to turn up, mostly in New York State, it seems—not that a cycle of Beethoven violin sonatas by Christian Tetzlaff isn’t important! First came the Oresteia at Bard, then Rossini’s rarely performed Semiramide, and now, once again at Bard, Giacomo Meyerbeer’s Les Huguenots. Probably the most popular opera of all during the nineteenth century (It exceeded 1,000 performances at the Paris Opera), it fell rapidly from favor with, it seems, the First World War.

Aeschylus’ Oresteia at Bard, translated by Ted Hughes, directed by Gregory Thompson

Francis Bacon, Triptych Inspired by The Oresteia, oil on canvas, 1981

If I was at all distracted during the three intensely focussed performances at Bard’s Fisher Center, it was to pinch myself to make sure that I wasn’t dreaming. Gregory Thompson’s production of Aeschylus’ Oresteia seemed like a once-in-a-lifetime experience—a satisfactory production of ancient Greek drama in English. In fact it was more than satisfactory—far ahead of anything else I have seen. In fact if I have to qualify my estimate of its success in any way, it is for purely technical reasons: Mr. Thompson concentrated on the surviving element of of Aeschylus’ work, the text, and ignored dance and music almost entirely. On the other hand he was perfectly right in deciding on this solution. Whatever dance and music one might bring in would be either an insufficiently documented reconstruction or a modern recreation in a modern idiom, and Aeschylus’ verse is sufficiently rich and complex to make it advisable to concentrate on that alone. Every actor delivered Ted Hughes’ lucid, noble, and colorful English with supreme clarity and ease, so that the audience could make close contact with the meaning and beauty of the language, as well as the elegance and expression of the actors’ delivery. The power of this brilliant production lay in its honesty and directness.

Bard Music Festival 2009 – Wagner and His World, August 14-16 and August 21-23, 2009

Of all the events in the year, I can’t think of anything I anticipate quite as keenly as the Bard Music Festival, which is dedicated to exploring the life and works of major composers in the broad context of the culture in which they lived.

[caption id="attachment_256" align="alignright" width="298" caption="Richard Wagner in 1873"]Richard Wagner in 1873[/caption]

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