Leon Botstein, the esteemed president of Bard College and music director of the American Symphony Orchestra, has made headlines once again. This time, he has successfully revived Giacomo Meyerbeer’s rarely performed opera, “Le Prophète,” as part of the SummerScape festival at Bard College.

Held at Bard’s 900-seat Sosnoff Theater, the production marks the first major U.S. staging of “Le Prophète” since the late 1970s. Botstein’s decision to bring this grand opera back to the American stage is part of his ongoing mission to spotlight neglected masterpieces. “There is no composer in the history of classical music and opera whose posthumous career has been so startlingly destroyed as Meyerbeer,” Botstein noted.

The production features a stellar cast, including tenor Robert Watson as Jean, mezzo-soprano Jennifer Feinstein as Fidès, and soprano Amina Edris as Berthe. Conducting the American Symphony Orchestra, Botstein brings his trademark energy and insight to Meyerbeer’s intricate score.

Director Christian Räth reimagines the opera for modern times while retaining its 16th-century setting. The tale of a demagogue and religious zealots imposing a theocracy is uncannily relevant today, making the opera resonate strongly with contemporary audiences.

Botstein’s commitment to authenticity is evident in the production’s meticulous approach. Collaborating with musicologist Mark Everist, Botstein restored the original 11-minute overture, which Meyerbeer had cut during rehearsals. However, practical constraints led to the omission of the third-act ballet, with excerpts performed in the lobby during intermissions.

Leon Botstein is known for his innovative programming and dedication to musical scholarship. Since launching SummerScape in 2003, he has revived numerous forgotten operas, including Janáček’s “Osud” and another Meyerbeer work, “Les Huguenots.” Botstein’s efforts have not only brought these works back to life but have also sparked renewed interest in neglected composers.

Looking ahead, Botstein is planning a revival of Smetana’s rarely performed “Dalibor” for next year’s SummerScape. As he continues to challenge conventional ideas about what operas deserve to be heard, audiences can expect more musical treasures to be unearthed and celebrated at Bard College.