SummerScape Opera/New Production
Libretto by Josef Wenzig, Czech translation by ErvĆn Å pindler
Directed by Jean-Romain Vesperini
American Symphony Orchestra conducted by Leon Botstein
Sung in Czech with English supertitles
Artwork by Bruno de LavenĆØre
July 25 ā August 3
āBotstein, and his annual opera production at Bard, seem more invaluable by the year.ā āThe New York Times
Experience the gripping drama of BedÅich Smetanaās Dalibor, a powerful Czech opera that weaves themes of revenge, love, and fate. Set against a backdrop of medieval intrigue, Dalibor follows its titular tragic hero as he faces a desperate struggle for redemption. With sweeping orchestral music and unforgettable arias, Dalibor captivates with its emotional depth and stirring melodies. Director Jean-Romain Vesperini (Henri VIII) returns to Bard SummerScape to helm this first fully-staged American production of a rarely-heard masterpiece.
Preshow Opera Talk
Sunday, July 27 at 12 pm
Free and open to the public; reservations required
Maestro Leon Botstein delivers a talk on BedÅich Smetanaās rarely-heard opera ahead of its Sunday, July 27 performance.
Time: 15th century
Place: Prague
Act 1
Dalibor, a Czech knight is on trial before the king for having murdered the burgrave of PloÅ”kovice in revenge for execution of his best friend, the musician ZdenÄk. At the trial, the king calls upon the burgraveās sister, Milada, who demands his execution. As Dalibor is brought in, the crowd rises in support of him. When Dalibor tells of his friendās capture and murder the court reduces his sentence from death to lifetime imprisonment. Milada painfully realized that she is falling in love with Dalibor, and in collusion with Jitka, an orphan befriended by the knight, she resolves to set him free.
Act 2
After a scene in a mercenary camp, where Jitka and her lover VĆtek plot to free Dalibor, Milada enters the prison disguised as a boy and finds employment with Daliborās jailer, BeneÅ”. She charms the jailer into allowing her into the dungeon where Dalibor is being held, to give him a violin similar to the one his friend used to play. The knight is dreaming, and initially thinks Milada is a reincarnation of his beloved ZdenÄk. Milada reveals her identity, seeks forgiveness, and explains the purpose of her mission. Then in a passionate duet, they sing of their joy in having found each other.
Act 3
In the dungeon, Dalibor looks forward to escape (singing his famous Song to Freedom) but feels it is a bad omen when one of the violin strings breaks. The plot to bribe BeneÅ” fails, and the jailer informs the king of the intended escape. Taking the advice of his council, the king orders Daliborās death. Milada, waiting outside the prison, hears the tolling of the bell that signals Daliborās execution. Accompanied by her followers, she storms the castle, where, after rescuing Dalibor, she is wounded and dies in his arms. Dalibor stabs himself and is united in death with his beloved.
Direction Jean-Romain Vesperini
Set Design Bruno de LavenĆØre
Costume Design Alain Blanchot
Lighting Design Christophe Chaupin
Projection Design Ćtienne Guiol
Hair/Makeup Design Anika Seitu
Dramaturg and Diction Coach VĆ©ronique Firkusny
Supertitle Creation Corinne Hayes
Dalibor
Milada
VĆtek
Budivoj
Jitka
Vladislav
BeneÅ”
Jean-Romain Vesperini studied acting at lāĆcole du ThĆ©Ć¢tre National de Chaillot in Paris and singing at The Guildhall School of Music and Drama in London where he trained as a baritone. After graduation, Jean-Romain decided to pursue a career as a stage director and spent several years collaborating with Luc Bondy, Peter Stein, and Georges Lavaudant from 2005 until 2017.
As a result of these long-term partnerships, he built solid professional experience by managing, leading the artistic ensembles, planning, and negotiating in major Opera Houses such as La Scala, Paris and Lyon Opera, Bolshoi Opera, as well as at the OpƩra-Comique, Salzburg Festspiele, Verona Opera, Aix en Provence festival.
In 2012 his own career developed with a successful production of La Traviata invited by Rennes, Limoges and Reims Opera Houses in France, which was broadcast on French national television and radio, and which led to a return invitation by these opera houses to stage a new production of Donizettiās Lucia di Lammermoor. He also founded his own company and became a producer of his own theatrical shows, being responsible for fundraising and building the production budget. He staged Ibsenās The Lady from the Sea, Paravidinoās Two Brothers, Levinās The Labour of life, Sacha Guitryās Quadrille.
At the same period, he was appointed artistic director of Les Nuits de CortĆ© festival in Corsica where he worked on all aspects of the development of the festival, building a special partnership with Lyon Opera house. He staged in this festival Mozartās Don Giovanni, Die Zauberflƶte, and Rossiniās Il Barbiere di Siviglia.
At only 33, on Nicolas JoĆ«l and StĆ©phane Lissnerās specific request, he staged Gounodās Faust at OpĆ©ra National de Paris conducted by Michel Plasson with whom he would work on the same opera at Geneva Opera House in 2018.
In 2018, The Bolshoi Theatre invited him to create a new production of Pucciniās La BohĆØme, now an important part of the opera houseās repertoire. This same year, Hong Kong Opera, in coproduction with The French May Festival, hired him for Bizetās Carmen.
He staged Pucciniās Turandot at Ekaterinburg National Opera House, as well as rediscovering Benjamin Godardās Dante at Saint-Etienne Opera House in coproduction with Palazzetto Bru Zane. Saint Etienne Opera House also invited him for a new French rediscovery, JonciĆØresās Lancelot.
In 2021, he staged Mussorgskyās Boris Godunov at OpĆ©ra de Monte-Carlo, which was revived in Avignon in 2024.
He also made his debut in the USA, staging Pucciniās Gianni Schicchi at Festival Napa Valley thanks to the support of Maria Manetti Shrem. With this festival, he staged Donizzettiās LāElisir dāAmore, Don Pasquale, and this upcoming season Mozartās The Abduction from the Seraglio.
Vesperini keeps developing his career in North America, staging Henri VIII by Saint-Saƫns at the Fisher Center at Bard, NY, Summerscape 2023, which was nominated for Best Classical Music Performances by The New York Times.
In Canada, he staged a new Faust production, and following this production, he was invited to stage La Vie Parisienne and Le Comte Ory.
With his education and background, Vesperini is deeply connected to the music and particularly aware of what the score brings to dramaturgy. He is extremely grateful to have had the chance to work with great artists such as Sir Antonio Pappano, Tugan Sokhiev, Evan Rogister, Zubin Mehta, Myung-Whun Chung, Daniele Rustioni, Alain Altinoglu, Daniele Gatti.
Jean-Romain Vesperini speaks French (mother tongue) and English, German, Italian, and Russian fluently.
Lead support for the Bard SummerScape production of Dalibor has been generously provided by Sarah Billinghurst Solomon.
Nearby villages and towns in the Hudson Valley boast a large selection of restaurants, as well as a variety of hotels, motels, inns, and bed & breakfasts.
Eat & StayBard Collegeās main campus is located in Annandale-on-Hudson (a hamlet of Red Hook), New York, on the east bank of the Hudson River, about 90 miles north of New York City and 220 miles southwest of Boston. The Taconic State Parkway and the New York State Thruway provide the most direct routes to our campus. Click the Google map below, or get directions by entering the following address into your GPS: 60 Manor Avenue, Red Hook, NY 12571.
From the East
If you are traveling from east of the Hudson River in New York State, take the Taconic State Parkway to the Red Hook / Route 199 exit, drive west on Route 199 through the village of Red Hook to Route 9G, turn right onto Route 9G, drive north 1.9 miles, turn left onto Annandale Road, then turn right onto Manor Ave.
From the West
If you are traveling from west of the Hudson River, take the New York State Thruway (I-87) to exit 19 (Kingston), take Route 209 (changes to Route 199 at the Hudson River) over the Kingston-Rhinecliff Bridge to Route 9G, turn left onto Route 9G, drive north 3.5 miles, turn left onto Annandale Road, then turn right onto Manor Ave.
Sosnoff Theater
Accessible Seating
Wheelchair-accessible seating is available in all seating areas for patrons in wheelchairs and their companions. There is an elevator to all levels of the Sosnoff Theater and a wheelchair lift is used to access front-row wheelchair seating.
Wheelchair-Accessible Restrooms
Restrooms at all locations are wheelchair accessible. Single-use restrooms are available at most locations.
All-Gender Restrooms
Bard College and the Fisher Center support guests of any gender identity/expression in using the restroom of their choice. Additionally, all-gender restrooms are available at all venues.
Find answers to some of the most common questions patrons have regarding our venues and performances. If you have a question not answered in our FAQs, please call 845-758-7900 or email boxoffice@bard.edu during regular Box Office hours.
Our āKnow Before You Goā guide answers all of your pre-show accessibility and navigation questions for your next performance at the Fisher Center!
Notifications
