Leon Botstein continues to make waves in the classical music world with his dedication to resurrecting operatic works that have faded into obscurity. As the president of Bard College and the music director of the American Symphony Orchestra, Botstein has carved out a niche for himself, focusing on operas that have been unjustly neglected by mainstream productions.

At Bard’s SummerScape festival, Botstein recently revived Giacomo Meyerbeer’s “Le Prophète,” a grand opera that had not seen a major U.S. production since the late 1970s. This initiative is part of Botstein’s larger mission to challenge the status quo in opera and classical music. “There is no composer in the history of classical music and opera whose posthumous career has been so startlingly destroyed as Meyerbeer,” Botstein remarked during a recent interview. His effort to bring Meyerbeer’s work back into the public consciousness exemplifies his commitment to diversifying the repertoire available to modern audiences.

Botstein’s approach to “Le Prophète” involved close collaboration with musicologists like Mark Everist to restore parts of the score that had been altered or omitted over time. This dedication to authenticity adds another layer of depth to Botstein’s productions, which often include rare pieces of music that most audiences have never heard before.

The production at Bard’s Sosnoff Theater has been met with critical acclaim, not only for Botstein’s conducting prowess but also for his ability to curate a cast that brings the opera to life. Featuring rising stars such as tenor Robert Watson and mezzo-soprano Jennifer Feinstein, Botstein once again proves his keen eye for talent.

As Botstein continues to champion these lesser-known works, his influence on the operatic landscape is undeniable, drawing attention to the richness and diversity of musical history.