Sky Ingram and cast in Ethel Smyth's The Wreckers, at Bard SummerScape . Photo Cory Weaver.

From Summer Opera…an Answer to the Opera Houses’ Predicament?

Permit me to indulge in a one-sided argument…or a rant, as I believe it’s called in the blogging world—which is not ours at New York Arts and The Berkshire Review!

Opera in the United States is particularly unsettled at the moment, if not in trouble. Both audiences and sources of funding are on a downward curve, although the better-managed companies seem to be coping. The biggest beast of all, The Metropolitan Opera, compromised by the bad judgement of its General Director, Peter Gelb, is the most worrisome of all.

Portrait of Henri III of France, oil on wood. Musée de châteaux de Versailles et de Trianon.

Chabrier’s Le Roi malgré lui, a Forgotten Comic Masterpiece, at Bard Summerscape, July 27-August 5, 2012

This year Bard Summerscape’s annual opera and operetta are fused into one in Emmanuel Chabrier’s Le roi malgré lui, a true opéra comique, written for the homonymous theater in Paris. In this genre, with which Leon Botstein indulged New York audiences with Bizet’s Djamileh this past spring, the effervescent humor we associate with operetta meets the more careful writing and construction of opera. As delightful as Djamileh was—and it did offer something more substantial than the Strausses, Offenbach, and Gilbert and Sullivan—Le roi malgré lui is in a different league.

2010 Bard SummerScape Festival presents the First U.S. Staging of Franz Schreker’s Opera Der Ferne Klang (July 30 – Aug 6) and a New Production of Oscar Straus’s Operetta The Chocolate Soldier (Aug 5 -15)

It is the long-standing custom of the Bard SummerScape Festival to present an important neglected opera, closely related to the composer around whom the Festival is built, but not by the composer himself. In my recollection, Schumann’s Genoveva, Zemlinsky’s Eine Florentinische Tragödie and Der Zwerg, Szymanowski’s King Roger, as well as Meyerbeer’s Les Huguenots were all important, of very high quality, and significantly related to Liszt, Elgar, Prokofiev, and Wagner. This year’s opera, Franz Schreker’s Der ferne Klang, is no exception, in fact, as a neglected opera, it is especially important, because in its time it was one of the most often staged contemporary operas in Germany.

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