Leon Botstein, a figure synonymous with innovation in the world of classical music, is making headlines again. As president of Bard College and music director of the American Symphony Orchestra, Botstein has resurrected Giacomo Meyerbeer’s “Le Prophète,” a grand opera not seen in a major U.S. production since the late 1970s. This revival is part of Bard’s SummerScape festival, running at the Sosnoff Theater.
Botstein’s mission with SummerScape is clear: to shine a light on overlooked works that deserve recognition. “Le Prophète,” with its complex mix of politics and religion, proves relevant in today’s society. Directed by Christian Räth, the opera’s modern reimagining highlights themes of demagoguery and religious fanaticism, resonating with contemporary audiences.
The production involves collaboration with musicologist Mark Everist to restore elements of Meyerbeer’s original work, including an 11-minute overture. However, choices had to be made, leading to the omission of the ballet in Act III, though excerpts feature during intermissions.
The cast includes tenor Robert Watson as Jean and Jennifer Feinstein as Fidès. Botstein, conducting the American Symphony Orchestra, brings a dynamic interpretation of Meyerbeer’s complex score, further testament to his commitment to artistic excellence.
Leon Botstein’s work extends beyond mere performance. His efforts at Bard College push the boundaries of traditional opera, encouraging audiences to engage with history through a modern lens. By presenting forgotten masterpieces like “Le Prophète,” Botstein plays a crucial role in preserving the rich tapestry of operatic history. His upcoming plans include a production of Smetana’s “Dalibor,” ensuring that the arts continue to thrive under his guidance.
Through these endeavors, Botstein fosters an appreciation for the diverse narratives that opera can offer, inviting audiences to explore past works with fresh eyes.