After only one season, its inaugural, The Berkshire Opera Festival has found a place in my affections no less than Bel Canto at Caramoor, where, since 1997, Will Crutchfield has presented an outstanding series of Bel Canto operas, thoroughly researched and correctly sung, and the annual opera at Bard Summerscape, where Leon Botstein continues to offer fully-staged performances of forgotten operas, which are sometimes more and sometimes less closely related to the composer on whom the Bard Music Festival focusses in a given year. Jonathon Loy and Brian Garman, co-founders and directors of The Berkshire Opera Festival, have chosen as their mission to present meticulously staged, impeccably sung performances of opera which are familiar to opera-lovers, but not among the overplayed warhorses of the repertoire. This made for a striking combination of Bellini’s Il Pirata, which premiered at the Met in the autumn of 2002, its only run there; Antonin Dvořák’s Romantic grand opera, Dimitrij, which was a great success in Prague during its first few years, but faded as the composer revised the life out of it, and has been very rarely performed in America; and Richard Strauss’s Ariadne auf Naxos, which premiered at the Met in 1962 and was last performed in 2011 – strange bedfellows indeed.
Between the limits of the discipline, as it is taught in graduate schools, and the structure of museological functions, exhibitions of drawings usually adhere to a restricted range of formats, which, while continuing to be viable for institutions and the public and useful for scholars in the field, can be felt as constricting for those who conceive and execute them. The scope of drawings exhibitions can be determined by time and/or place (stylistic categories), or an artistic personality (monographic), or collection (“Treasures on Paper from…”), and perhaps a few others. When a curator is faced with such a project, he may may find himself wrestling with an urge to break the mold and create something new.
The Berkshire Opera Festival carries on this year with their second production, a radically different work written only a few years later by Richard Strauss, Ariadne auf Naxos. Brian and Jonathon very kindly agreed to chat about this year’s offering with me, and I think you will learn a lot about Ariadne and how it looks to the people who put it on the stage for your enjoyment. Opera is in one way entertainment and in another a great deal more, and no other opera brings this home to us more amusingly, delectably, and movingly than Ariadne.
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.
You have only two days left to see Theresa Rebeck’s philatelic thriller at the Oldcastle Theatre Company in Bennington. By all means drop any other plans you may have and treat yourself to a show that is both gripping and tartly amusing, with its sour, disillusioned view of sibling relationships and human behavior inspired by desirable objects.
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.
Shakespeare and Company, a presence in Lenox since its foundation in 1978 by Tina Packer and Kristen Linklater, has undergone some seismic challenges in recent years, and there has at times been some concern about its future, but it continues to soldier on with its richly and solidly matured education programs and performances that seem to only to get better and better. Now, following a brilliant season (2016) and looking forward to what promises to be another equally exciting program this summer, all the upheavals seem basically of academic interest, and I’ll let you wait until someone publishes a history of this company, which wears its laurels so lightly that some, I believe, underestimate just how important it is, not only for the history of Shakespeare performance in this country, but anywhere.
Among the rich offerings of the 2017 Berkshire International Film Festival, one of the most fascinating and important films will be Owsley Brown’s documentary, Serenade for Haiti. The film could be described as an extended visit to the École de Musique Sainte Trinité in Pétionville, a suburb of Port-au-Prince. Mr. Brown, who had made other films about music and its role in human society and spirituality, first visited the school in 2006, and was, as he has said, “greatly affected by what [he] found there.”