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Bedřich Smetana’s patriotic opera Dalibor is given a rare outing at Bard College, directed by Jean-Romain Vesperini and conducted by Leon Botstein. 

As part of a festival considering the composer's oeuvre, Leon Botstein leads a concert performance of La Damnation de Faust lacking in French style. 

A two-week Ralph Vaughan Williams retrospective closed with his gentle, folksy spin on Shakespeare's Merry Wives of Windsor.

Conductor Leon Botstein and director Jean-Roumain Vesperini treat this Tudor soap opera with appropriate grandeur, while a top-notch cast deliver the vocal goods.

Bard’s always courageous Music Director, Leon Botstein, never one to shy away from a challenge, presents Strauss' comedy uncut.

American singers Clay Hilley and Sara Jakubiak offered performances of distinction in two fiendishly difficult roles.

Leon Botstein and the American Symphony Orchestra's attempt to position Erich Wolfgang Korngold as a midcentury musical force comes up short.

Although Bard's production is only intermittently successful, the chance to hear this Korngold rarity live should be savored.

Thaddeus Strassberger proposed a mise-en-scène where the story is reenacted in Tamara’s confused mind while she is confined in a monastery.

Leon Botstein and the American Symphony Orchestra revive Mascagni's Iris in a fully staged version in Frank Gehry's architecturally stunning Richard B Fisher Center at Bard College.

Bard SummerScape made musical history by presenting the first full staging of British composer Ethel Smyth’s opera The Wreckers. Born in 1858 and dying in 1944, Smyth was celebrated in her day (John Singer Sargent painted her portrait in 1901) not only for her compositions, but for being an openly bisexual member of the suffrage movement.