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March 2021
03-28-2021 Bard SummerScape Returns with Full Season of Live Music, Dance, Opera, and Performance: July 8 – Aug 22 

November 2020
11-29-2020 New York Times Includes Two Archived Bard SummerScape Productions as Best Dance of 2020 
11-24-2020 “Eloquent, unexpected, and beguiling”: Meshell Ndegeocello’s Chapter & Verse: The Gospel of James Baldwin from the Fisher Center (Times Union)

October 2020
10-06-2020 Albany Times-Union: Bard Music Festival’s Livestreamed Concert Series “Out of the Silence” Speaks to Our Times (Albany Times-Union)

September 2020
09-22-2020 Bard Fisher Center Choreographer in Residence Pam Tanowitz Wins $275,000 Doris Duke Artist Award 
09-09-2020 New York Times, Los Angeles Times, Others Highlight the Kickoff Performance of “Out of the Silence,” Bard Music Festival’s Series of Livestreamed Concerts This September; among Top Cultural Picks for Labor Day Weekend (New York Times)

August 2020
08-24-2020 Bard Music Festival Presents “Out of the Silence: A Celebration of Music”: Four Free Livestreamed Concerts Showcasing Black Composers and Subjects of Past Festivals, with The Orchestra Now & Bard College Conservatory Faculty, Sept. 5-26 

June 2020
06-12-2020 Interview: Bard Fisher Center Choreographer in Residence Pam Tanowitz Talks to the Brooklyn Rail about the Challenges of Working and Rehearsing with Dancers during the COVID-19 Pandemic (Brooklyn Rail)
06-04-2020 Limelight Editor Clive Paget Recommends Streaming Bard SummerScape Opera Productions of Korngold’s Das Wunder der Heliane (2019) and Strauss’s Die Liebe der Danae (2011) (Limelight)

May 2020
05-24-2020 Bard Theater and Performance Students Earn Rave Review from New York Times for Mad Forest (New York Times)
05-21-2020 Caryl Churchill's Mad Forest Gets Ready for Its Closeup (American Theatre)
05-15-2020 Bard Students Perform Mad Forest Virtually with Off-Broadway Theatre for a New Audience (Playbill)
05-04-2020 Bard’s Jack Ferver and Dancer Reid Bartelme Create a Podcast Where Dance Fans Can Escape From Our “Sci-Fi Horror” Moment (New York Times)
05-03-2020 Bard SummerScape Production of Acquanetta Makes New York Times’s Curated Guide to Theater Now Online (New York Times)

January 2020
01-21-2020 For 13 Years, Patrick Vaill ’07 Has Humanized the Villain of Oklahoma! (New York Times)
01-07-2020 How a Forgotten Opera Made a Big Comeback—President Botstein on the Korngold Revival  (New York Times)

December 2019
12-18-2019 Oklahoma! Named No. 1 Stage Show of 2019 by Entertainment Weekly (Entertainment Weekly)

November 2019
11-26-2019 Bard Grammy Award Nominations: Oklahoma!, the Beastie Boys, and More (Grammy.com)
11-06-2019 Mirna Bamieh’s Palestine Hosting Society Comes to Bard (Chronogram)

August 2019
08-14-2019 Bard Music Festival Highlights Erich Wolfgang Korngold, the Opera Composer Who Went Hollywood  
08-05-2019 Bard President and Maestro Leon Botstein on the American Premiere of The Miracle of Heliane and the Future of Opera 

July 2019
07-30-2019 Bard SummerScape’s Staging of Korngold’s Rarely Heard Opera Heliane Hints at His Future in Hollywood (New York Times)
07-20-2019 From Vienna to the Silver Screen: Bard Explores the Life of Erich Korngold 
07-15-2019 New York Times Review: Acquanetta at Bard SummerScape Is a “Must-See” (New York Times)
07-02-2019 Bard SummerScape Opera 2019 

June 2019
06-28-2019 Choreographer Ronald K. Brown Brings Grace and Mercy to Bard SummerScape, with Music by Meshell Ndegeocello (New York Times)
06-28-2019 Bard: Giving Diaspora Dance the Weight It Deserves (Dance Magazine)

May 2019
05-21-2019 Bard Choreographer in Residence Pam Tanowitz Wins 2019 Herb Alpert Award in the Arts (Artforum)

March 2019
03-29-2019 Bard Music Festival's 30th Anniversary Season Explores Life and Times of Korngold (Broadway World)
03-27-2019 Director Daniel Fish: He Changed Oklahoma! But Oklahoma! Hasn’t Changed Him. (New York Times)

February 2019
02-26-2019 Summer at Bard: A Composer Who Fled the Nazis and a B-Movie Opera (New York Times)
02-26-2019 Bard’s Revival of Oklahoma! Starts Performances on March 19 at NYC’s Circle in the Square Theater (New York Times)
02-05-2019 Upcoming Broadway Revival of Oklahoma! That Began at Bard Will Join Gun Neutral Initiative (Playbill)

December 2018
12-14-2018 Bard Music West Doesn’t Lack Ambition (San Francisco Classical Voice)
12-12-2018 New York Times Names Pam Tanowitz’s Four Quartets at Bard the Best Dance Production of 2018 (New York Times)

November 2018
11-12-2018 Interview: Isabella Rossellini Talks about "Link Link Circus" at Bard's Fisher Center (WAMC)

October 2018
10-31-2018 This Weekend: The Orchestra Now Presents Copland’s Lincoln Portrait, Conducted by Leon Botstein (Fisher Center)
10-09-2018 Review: Daniel Fish’s Reimagined Oklahoma!, Which Premiered at Bard SummerScape, Opens Off-Broadway (New York Times)

August 2018
08-28-2018 Bard Fisher Center Announces Full 2018–19 Season of Performances (Fisher Center)
08-28-2018 Artist Brice Marden on His Role in Bard SummerScape’s Acclaimed Dance Production Four Quartets (Garage)
08-21-2018 Bard Music Festival Makes a Case for the Reappraisal of Russian Composer Nikolai Rimsky-Korsakov (New York Times)

July 2018
07-31-2018 Rubinstein's Demon Is Redeemed in a Rare Staging at Bard SummerScape (New York Times)
07-28-2018 Interview: President Botstein on Why the World Forgot Anton Rubinstein (Forward)
07-23-2018 Russian Rarity Revived at Bard College: New Production of Anton Rubinstein’s Demon Premieres July 29 (Associated Press)
07-23-2018 Demon Preview: It Was Russia’s Most Popular Opera. Then It Disappeared. (New York Times)
07-17-2018 Review: A Stranger, Sexier Version of Peter Pan? It’s Leonard Bernstein’s (New York Times)
07-10-2018 Review: Pam Tanowitz’s Four Quartets Hits Poetic Heights at Bard College (New York Times)
07-03-2018 Interview: Gideon Lester and Kathleen Chalfant on the Evolution of Four Quartets (WAMC)
07-03-2018 Pam Tanowitz: A Choreographer Unafraid of Masterpieces Takes on T. S. Eliot in Four Quartets (New York Times)

June 2018
06-26-2018 Bard SummerScape’s New Staging of Peter Pan Features “Wonderful, Undeservedly Obscure Score” by Leonard Bernstein (New York Times)
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