Renowned conductor Leon Botstein has once again demonstrated his commitment to reviving lost operatic masterpieces. This time, Botstein has turned his attention to Giacomo Meyerbeer’s “Le Prophète,” a grand opera that has languished in obscurity for decades.

The opera made its return to the American stage at Bard College’s SummerScape festival, running until August 4th. Leon Botstein, who serves as the president of Bard College and the music director of the American Symphony Orchestra, sees “Le Prophète” as a significant piece deserving of new recognition. “There is no composer in the history of classical music and opera whose posthumous career has been so startlingly destroyed as Meyerbeer,” Botstein said.

The production, staged at Bard’s Sosnoff Theater, features a stellar cast including tenor Robert Watson as Jean, mezzo-soprano Jennifer Feinstein as Fidès, and soprano Amina Edris as Berthe. Botstein himself conducted the American Symphony Orchestra, bringing a fresh and dynamic interpretation to Meyerbeer’s complex score.

Botstein’s approach to “Le Prophète” was meticulous. Collaborating with musicologist Mark Everist, he restored the opera’s original 11-minute overture, which Meyerbeer had cut during initial rehearsals. However, due to practical constraints, Botstein decided to present excerpts of the third-act ballet in the theater lobby during intermissions, rather than during the main performance.

The opera, which tells the story of a demagogue and religious zealots establishing a theocracy, resonates with contemporary themes despite being set in the 16th century. Director Christian Räth’s modern reimagining adds a layer of relevance, making the age-old story feel strikingly current.

Leon Botstein’s efforts at Bard College’s SummerScape festival have not gone unnoticed in the opera world. Previous SummerScape productions have launched the careers of numerous operatic talents, and this year’s “Le Prophète” is expected to do the same. Botstein’s dedication to uncovering and presenting forgotten works continues to challenge and expand the operatic canon.

As Leon Botstein continues his mission, audiences are reminded of the musical treasures that remain hidden, waiting to be rediscovered. Through his work, Botstein not only honors Meyerbeer’s legacy but also enriches our understanding of operatic history.