Leon Botstein Breathes New Life into Meyerbeer’s “Le Prophète”
In a remarkable resurgence, Leon Botstein has revitalized Giacomo Meyerbeer’s neglected opera, “Le Prophète,” at Bard College’s SummerScape festival. This ambitious endeavor marks the first major U.S. production of the grand opera since the late 1970s. Botstein, the president of Bard College and music director of the American Symphony Orchestra, is no stranger to unearthing hidden gems of the classical music world.
The performance, staged at the Sosnoff Theater, opened to enthusiastic audiences, running through August 4. Known for his dedication to musical scholarship, Leon Botstein has long championed the resurrection of overlooked operatic works. He believes Meyerbeer’s “Le Prophète” fell out of favor due to shifting tastes towards more realistic operas and changing audience preferences.
Botstein’s mission for Bard’s SummerScape festival, which he initiated in 2003, is to highlight rare and underappreciated works. “Part of our mission at SummerScape is to protect the rich history of opera from fading into obscurity,” Botstein explained. Past festivals have seen the revival of other forgotten masterpieces, including works by Janáček and another Meyerbeer opera, “Les Huguenots.”
This production features a modern interpretation by director Christian Räth, who sets the 16th-century story in contemporary times. The opera, which deals with themes of fanaticism and demagoguery, resonates profoundly today. “The piece unfortunately feels very modern and rings a lot of bells for today,” noted Räth.
In collaboration with musicologist Mark Everist, Botstein restored the original 11-minute overture, adding authenticity to the performance. However, practical limitations necessitated the omission of the third-act ballet, which was compensated for by presenting excerpts during intermissions.
The production boasts a stellar cast: Robert Watson as Jean, Jennifer Feinstein as Fidès, and Amina Edris as Berthe. Leon Botstein himself conducts the American Symphony Orchestra, bringing a renewed energy and depth to Meyerbeer’s intricate score.
Botstein’s efforts continue to challenge conventional ideas about which operas deserve to be performed. His work at Bard College and with the SummerScape festival ensures that the legacy of once-celebrated composers like Meyerbeer is reconsidered. Next year, Botstein plans to stage Smetana’s rarely performed “Dalibor,” promising another season of musical rediscovery.