It seemed that concert life had returned to normal, even though the audience was clumped into socially distanced groups separated by empty seats and the intermission was replaced by a short pause. The crowd before and after the music milled about without much presence of masks, and the musicians on-stage sat in their normal configuration. Even the lawn looked well-occupied, despite the steady drizzle, with groups on blankets sitting under umbrellas. The concert began without much ado, Andris Nelsons and the musicians launching enthusiastically into Carlos Simon’s brief and rousing opener, “Fate Now Conquers,” bringing the chatter and bustle of the audience to a halt.
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.
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.
I am happy to let you know that I will be collaborating with Emily Kalish in an afternoon of music-making that is sure to be fun, both for you and for us. We are doing a program of American music for violin and piano, some brand-new, and some American by virtue of style and place of composition.
We will play serious works by Dvorak (but made in America!) and Charles Ives (including “In the Barn”), along with a new piece I composed for Emily called “Fiddling Alon(g/e)” (read that any way you like). There will also be some piano ragtime by Lamb and Bolcom, arranged for our two instruments. We perform on Sunday afternoon, October 27, at 4 pm in the Stockbridge Congregational Church next to the Town Offices.
Such a broad range of small detail, an infinite diversity of subtle variations in tone, attack, dynamics etc., more than is practical even for a composer to write into a score, is possible, even common on the string instruments, especially the violin, and it seems to be much easier to find violinists capable of nuanced playing than any other instrument, flute, horn, oboe, for example, though maybe not piano, though these instruments are not directly comparable. The string quartet then presents so many musical possibilities not to mention possible combinations of musical personalities, for both the performer and composer, and such opportunities for experimentation with the genre’s huge density of detail, relative speed of composition, and fantastic possibilities at the frontiers of musical sound. It is easy too to compare a symphonist’s writing string quartets to a painter’s drawing of finished studies, and this tradition continues, even if new symphonies and operas are relatively rare, as we see here in this program which includes the newish work by Gordon Kerry whose pieces, like Ian Munro’s last year, will feature in most of this year’s chamber music concert tours organized by Musica Viva.