SummerScape Opera 2015: The Wreckers
July 24 and 31 at 7:30 pm
July 26, 29, and August 2 at 2 pm
July 24 and 31 at 7:30 pm
July 26, 29, and August 2 at 2 pm
Video: Opera at Bard
Thaddeus Strassberger returns to Bard SummerScape 2015 to direct his fifth production with the festival, previously having created productions of Les Huguenots, Der ferne Klang, Le roi malgré lui, and Oresteia. He recently made his debut with the Ekaterinburg State Academic Opera, directing and designing Satyagraha, the first-ever production of a Philip Glass opera in Russia. Further debuts in 2014 included The Royal Opera Covent Garden, where he directed Placido Domingo in I due Foscari and a world premiere opera, Glare, by Søren Nils Eichberg. This past season he also directed Andrea Chénier and The Voyage of Edgar Allan Poe (Staatstheater Braunschweig), I due Foscari (Theater an der Wien), and Don Giovanni (The Norwegian Opera). Notable past productions include: Hamlet (Washington National Opera/ Minnesota Opera/Fort Worth Opera/Lyric Opera of Kansas City), Nabucco (Washington National Opera/Minnesota Opera/Opera Philadelphia/Florida Grand Opera, l’Opera de Montreal), La fanciulla del West (l’Opera de Montreal, Tiroler Landestheater Innsbruck), and Le nozze di Figaro and The Rape of Lucretia (The Norwegian Opera). His production of I due Foscari has recently been seen in Los Angeles and Valencia. His production of the rarely heard La Gazzetta (Rossini, in Wildbad Festival, Germany) garnered nominations for both best production and best direction from Opernwelt magazine.VIEW MORE >>
Botstein leads an active schedule as a guest conductor all over the world, and can be heard on numerous recordings with the London Symphony (including its Grammy nominated recording of Popov’s First Symphony), the London Philharmonic, NDRHamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are available online, where they have cumulatively sold more than a quarter of a million downloads. Upcoming engagements include the Royal Philharmonic, Simón Bolivar Symphony Orchestra of Venezuela, Aspen Music Festival, and the Hessisches Staatstheater Wiesbaden. In recent seasons, he has conducted the Buffalo Philharmonic Orchestra, Russian National Orchestra in Moscow, Taipei Symphony, Los Angeles Philharmonic at the Hollywood Bowl, and Sinfónica Juvenil de Caracas in Venezuela.
Highly regarded as a music historian, Botstein’s most recent book is Von Beethoven zu Berg: Das Gedächtnis der Moderne (2013). He is the editor of The Musical Quarterly and the author of numerous articles and books. He is currently working on a sequel to Jefferson’s Children, about the American education system. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s prestigious Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. Other recent awards include the Caroline P. and Charles W. Ireland Prize, the highest award given by the University of Alabama; the Bruckner Society’s Julio Kilenyi Medal of Honor for his interpretations of that composer’s music; the Leonard Bernstein Award for the Elevation of Music in Society; and Carnegie Foundation’s Academic Leadership Award. In 2011 he was inducted into the American Philosophical Society.
Erhard Rom was named as a finalist in the Designer of the Year category of the 2015 International Opera Awards in London. He has designed settings for over 200 productions across the globe; his design work has been displayed in the Prague Quadrennial exhibition and at the National Opera Center in Manhattan. He teaches design at Montclair State University. His credits include: San Francisco Opera, Wexford Festival Opera, Seattle Opera, Vancouver Opera, Glimmerglass Festival, Opera Theatre of Saint Louis, Minnesota Opera, Bord Gáis Energy Theatre in Dublin, Fort Worth Opera, Boston Lyric Opera, Opéra de Montréal, Atlanta Opera, Wolf Trap Opera, Opera Boston, and Lyric Opera of Kansas City, Folger Shakespeare Theatre, and Woolly Mammoth Theatre in Washington, D.C. In 2014 he designed the European premiere of Kevin Puts’s opera, Silent Night. The production received the audience choice and best opera production awards at the 2015 Irish Times Theatre Awards ceremony.
JAX Messenger has lit productions for such companies as Bard SummerScape (Oresteia); Les Ballets Trockadero de Monte Carlo (Laurencia, Waltzpurgisnacht, Majisimas); Merola Opera (Barber of Seville); Washington Ballet (Sleeping Beauty, Fluctuating Hemlines, WAM2, Shostakovich Concerto); WAM! (Don Quixote); San Francisco Opera (Requiem, The Elixir of Love for Families). He has recreated the designs of Tony Tucci, Mark McCullough, Nick Phillips, Keven Meek, Nacho Duato, Jeff Bruckerhoff, and Jennifer Tipton. His associate and assistant Broadway work includes Of Mice and Men, The Heidi Chronicles, and The Visit. As an assistant lighting director he managed the creation of four operas for New York City Opera and 48 for the San Francisco Opera. As lighting supervisor he produced tours for the Washington Ballet and Les Ballets Trockadero de Monte Carlo in venues around the world, including the John F. Kennedy Center, Washington, D.C.; Théatre du Chatelet, Paris; Teatro degli Arcimboldi, Milan; and Victorian Arts Center, Melbourne.
Kaye Voyce’s work has previously been seen at Bard SummerScape in productions of Osud, Rocket to the Moon, The Wild Duck, and Judgment Day. Her Broadway credits include The Real Thing, The Realistic Joneses, and Shining City. Other recent credits include Il turco in Italia (Teatro Regio Torino, Festival d’Aix); Enemies, A Love Story (Palm Beach Opera); The Mystery of Love and Sex (Lincoln Center Theater); The Evening (Walker Art Center, The Kitchen); The Wayside Motor Inn (Signature Theatre); Dialogues of the Carmelites (Opera Theatre of St. Louis); Luna Gale (Goodman Theatre and Kirk Douglas Theatre); and Trisha Brown’s final two dances, I’ll toss my arms—if you catch them they’re yours and Rogues.
Hannah Wasileski is a visual artist and projection designer from Berlin whose work spans theater, opera, music, and installation. Her recent design work includes Albany Symphony’s American Music Festival (with Sleeping Giant and Theo Bleckmann), architectural projection design for La Celestina (Metropolitan Museum of Art, with Manual Cinema and Opera Erratica), The World Is Round (BAM), Livin’ La Vida Imelda (Ma-Yi Theatre prose du Transsiberien (Yale Beinecke), ReAnimator Requiem (Abrons Arts Center), the world premiere of Dear Elizabeth (Yale Rep and Berkeley Rep), and The Strange Tales of Liaozhai and My Life in a Nutshell (HERE Arts Center). She is the recipient of an Obie Award. Her installation and video art have been exhibited in London, Brighton, and Glasgow. Hannah holds an M.F.A. in design from Yale.
David Sytkowski is based in New York City. Recent engagements include Hindemith’s The Long Christmas Dinner and Von Schillings’s Mona Lisa with the American Symphony Orchestra, Weber’s Euryanthe with Bard SummerScape, the world premiere of Paul Richards’s Biennale at The Barnes Foundation in Philadelphia, guest coach at the Seattle Opera Young Artist Program, and Opera Moderne’s production of Ullmann’s Der Kaiser von Atlantis. Before moving to New York, he served as vocal coach for University of Wisconsin Opera in Madison, as well as pianist for various Madison Opera productions and outreach. In addition to his operatic work, he frequently collaborates with singers and instrumentalists, and has performed with tenor James Doing, soprano Mimmi Fulmer, and violinist Felicia Moye.
Zachary Schwartzman has conducted around the United States and in Brazil, Mexico, England, and Bosnia. His orchestral performances have been featured on NPR, including a national broadcast on Performance Today. He has received a career development grant from the Bruno Walter Memorial Foundation and served as assistant conductor for the Deutsche Oper Berlin, Opera Atelier (Toronto), Berkshire Opera, Opera Français de New York, L’Ensemble orchestral de Paris, Bard SummerScape, Gotham Chamber Opera, and Opera Omaha, among others. He was associate conductor for two seasons with New York City Opera, as well as conductor in their VOX series, and has been associate/assistant conductor for 15 productions at Glimmerglass Opera, where he conducted Carmen and Jeanine Tesori’s A Blizzard on Marblehead Neck (world premiere). His credits as assistant conductor include recordings for Albany Records, Naxos Records, and a Grammy-nominated, world-premiere recording for Chandos Records. He has been music director of the Blue Hill Troupe since 2004.
Lynn Krynicki just finished her 15th consecutive season at Washington National Opera (WNO) at the John F. Kennedy Center for the Performing Arts. This summer she enjoys her 12th consecutive season as opera stage manager for Bard SummerScape. At WNO, her opera stage managing credits include Florencia en el Amazonas, Der fliegende Holländer, Siegfried, Werther, Anna Bolena, Madama Butterfly, and La forza del destino. Other notable stage management credits include the Latino Inaugural 2013 at the Kennedy Center; the first non-Russian premiere of Taneyev’s Oresteia at Bard SummerScape; North American premiere of The Picture of Dorian Gray at Florentine Opera; Carmen, performed in Van Andel Arena for Opera Grand Rapids; and the world premiere of Gabriel’s Daughter at Central City Opera. Among the other companies for which she has worked are Seattle Opera, Central City Opera, Nashville Opera, Milwaukee Ballet, Chautauqua Opera, Pine Mountain Music Festival, Des Moines Metro Opera, and Madison Opera.
David Burke is a freelance costume assistant and supervisor, working primarily in opera. He spent 15 years as costume director for the Santa Fe Opera, where he started his career. Recent credits include Acis and Galatea, Isaac Mizrahi design for Mark Morris; The Magic Flute, Isaac Mizrahi design for Opera Theatre of St. Louis; and Peter and the Wolf, Isaac Mizrahi design for the Guggenheim Museum’s Works and Process. For Bard SummerScape, Burke has supervised costumes for Oresteia, Mattie Ullrich design, and Euryanthe, Jessica Jahn design. Burke has an M.F.A. from New York University, Tisch School for the Arts, and is a member of USA Local 824, Costume Design.
The orchestra’s Vanguard Series consists of multiple concerts annually at Carnegie Hall. ASO also performs at the Richard B. Fisher Center for the Performing Arts at Bard College in Bard’s SummerScape festival and the Bard Music Festival. The orchestra has made several tours of
Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS.Many of the world’s most accomplished soloists have performed with the ASO, including Yo-Yo Ma, Deborah Voigt, and Sarah Chang. The orchestra has released several recordings on the Telarc, New World, Bridge, Koch, and Vanguard labels, and many live performances are also available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.
Bard SummerScape Presents
By Ethel Smyth
American Symphony Orchestra
Conducted by Leon Botstein, music director
Directed by Thaddeus Strassberger
Ethel Smyth’s The Wreckers is based in historical fact: in small, desperately poor villages on Britain’s Cornish coast, bands of villagers formed secret cadres that at critical moments would extinguish the beacons established on the coast to guide ships, thus forcing them onto the rocks and then plundering the cargo and murdering the crews.
The story Smyth chose to set presents a tale that should be of intense interest to contemporary audiences. It concerns an isolated community in Cornwall that possesses a religiously based, fanatical self-regard that leads it to justify theft and murder as God-given rights and virtues. Led by the community’s own pastor who invokes Christianity, violence becomes the instrument of realizing God’s will. The opera depicts the consequences of mass hysteria and populist justice, framed by a powerful display of orchestral writing, memorable motivic recurrence, and a brilliant use of chorus.
Opera Talk: July 26 at noon
Evening at the Opera Package
Make an evening of it with dinner and tickets to the opera. Join us on Friday, July 24 or Friday, July 31 for a delicious three-course dinner at the Spiegeltent, and a ticket to The Wreckers (with no ticketing fees).
The Wreckers: July 24 or July 31
$80 Parterre seating (save $60); $100 Orchestra seating (save $50)
Joining us from New York City?
Out-of-Town packages are available for select performances during SummerScape. Packages include round-trip transportation from New York City to Bard in our SummerScape Coach, three-course lunch/dinner at the Spiegeltent, and your ticket to the performance (with no ticketing fee).
The Wreckers: July 24, July 26, and August 2 performances
$100 Parterre seating (save $60); $125 Orchestra seating (save $50)
Special support for this program is provided by Emily H. Fisher and John Alexander.
July 26, 2015 at 2 pm
July 29, 2015 at 2 pm
July 31, 2015 at 7:30 pm
August 2, 2015 at 2 pm
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