Dvořák’s Rare Grand Opera, Dimitrij, Coming Up at Bard Summerscape, beginning July 28(Comments Off on Dvořák’s Rare Grand Opera, Dimitrij, Coming Up at Bard Summerscape, beginning July 28)
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.
A Crop of Recordings XVI: Elgar, The Dream of Gerontius and the First and Second Symphonies played by the Berliner Staatskapelle under Daniel Barenboim
If Gerontius died today, it would probably be at a hospital with no Cardinal Newman to record his passing and no Sir Edward Elgar to create his beautiful dream of a masterpiece. And, one supposes too, there’d be no Daniel Barenboim to bring the work to Germany so powerfully as he does here, details and quibbles to follow. We don’t immortalize last words and thoughts the way we used to.
Two large-scale vocal works were presented at BEMF on successive nights (Wednesday and Thursday, June 14 and 15), one a work of music theater, merging opera and ballet; the other devotional but in the musical language of opera absent the staging. Composed within nine years of each other, they offer contrasting perspectives of Italian music and culture from the points of view of a French and a German composer. Both were clearly besotted with Italy, one responding to the carnival spirit of Venice with its light-hearted approach to life, love, and entertainment; and the other situated at the center of the sober religious and devotional culture of Rome. Experiencing these two works back-to-back and interpreted by many of the same performers provided a wonderfully condensed testament to the multidimensional attractions and influences that Italian opera radiated at the turn of the 18th century.
The Aston Magna season, the 45th(!), is almost upon us. We can look forward to an extended schedule, adding fifth and sixth weekends at the Brandeis and Great Barrington venues, which is no longer on the Simon’s Rock campus, but at the recently renovated Saint James Place.
More in this category
- 2016 in retrospect — The Bard Music Festival: Giacomo Puccini and his World
- Rattle and the Berlin Philharmonic: A musical experience of a lifetime
- Openings: Boston Musica Viva plays Boulez, Marteau sans maître, and Nelsons and the BSO present Richard Strauss, Der Rosenkavalier
- Glimmerglass Festival 2016 – Opera for the Inner Birdwatcher…and the Rest of Us!