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Bard SummerScape 2014: Schubert and His World

The roots of Austro-German Romanticism will be explored at the 2014 annual Bard SummerScape festival, which once again offers a sensational
summer of music, opera, theater, dance, film, and cabaret, keyed to the theme of the 25th anniversary season of the world-renowned Bard Music Festival, Schubert and His World. Held in the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts and other venues on Bard College’s idyllic Hudson River campus, the seven-week festival opens on June 27 with the first of three performances of Proscenium Works: 1979–2011 by the Trisha Brown Dance Company, and closes on August 17 with the conclusion of the Bard Music Festival. Complementing the Bard Music Festival’s exploration of “Schubert and His World,” some of the great Viennese composer’s most important contemporaries provide key SummerScape highlights. These include the first American revival in 100 years of Carl Maria von Weber’s opera Euryanthe, as well as a single semi-staged performance of Schubert’s rarely performed opera Fierrebras; the world premiere theater production Love in the Wars, an adaptation of Heinrich von Kleist’s Penthesilea by the Booker Prize-winning novelist John Banville; and a film series titled “Schubert and the Long 19th Century.” Together, SummerScape’s offerings help celebrate the Silver Jubilee of the Bard Music Festival – dubbed “part boot camp for the brain, part spa for the spirit” by the New York Times – which has since its founding in 1990 done so much to revitalize the classical concert experience.
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Named “one of the most intellectually stimulating of all American summer festivals” by the Wall Street Journal, it is the Bard Music Festival that provides SummerScape’s creative inspiration. Drawing on recent scholarship, the festival’s thematic programming, multi-disciplinary approach, and emphasis on context and reception history make for a depth and breadth of cultural discovery that appeals to classical music novices and aficionados alike. Since its inception a quarter-century ago, the Bard Music Festival has enriched the standard concert repertory with a wealth of important rediscoveries; as the New York Times points out, “wherever there is an overlooked potential masterpiece, [festival co-founder] Leon Botstein is not too far behind.” While the Bard Music Festival’s pioneering approach to thematic programming has been imitated, “Nothing quite compares to the fascinating summer programs popping out of Leon Botstein’s brain (Bloomberg News).
The 25th-anniversary season presents “Schubert and His World,” an illuminating series of orchestral, choral, vocal, and chamber concerts – as well as pre-concert talks, panel discussions, and special events – all devoted to examining the life and times of Franz Schubert (1797–1828). One of the most revered and influential composers of the Western tradition, the Viennese composer remains paradoxically elusive. His greatest fame rests on music discovered decades after his death, for although in his lifetime he won recognition as the “Prince of Song” and for his two- and four-hand keyboard music, it was only subsequently that the majority of his large-scale chamber, orchestral, and dramatic works came to light. The 2014 Bard Music Festival will consider Schubert both as he was known in his lifetime and as posterity has understood him, through performances of a wide range of his music, from the perennially popular songs to the once-favored, now-forgotten Singspiel Die Verschworenen, and from such posthumously canonized masterworks as the “Unfinished” Symphony and transcendent String Quintet in C to neglected rarities like his opera Fierrabras, which will be heard in a semi-staged performance comprising the Bard Music Festival’s final program.
The American Symphony Orchestra, under its music director, Leon Botstein, is in residence at Bard throughout SummerScape. Besides leading the Bard Music Festival’s orchestral programs, Botstein will also conduct this season’s annual staged opera, Euryanthe (1823), by Schubert’s contemporary Carl Maria von Weber (1786–1826). Returning to direct Euryanthe’s first American revival in 100 years is Kevin Newbury, creator of SummerScape’s “gold standard production” (WQXR) of Richard Strauss’s Die Liebe der Danae. In theater, Bard will present the world premiere production of Love in the Wars – a new and playful take on Heinrich von Kleist’s Penthesilea from Booker Prize-winning novelist John Banville – by Ken Rus Schmoll, the director “whose name attached to a show most warms us with optimism” (Village Voice). Continuing SummerScape’s tradition of opening each year with a significant dance performance, this season the Trisha Brown Dance Company returns to launch the festival with Proscenium Works: 1979–2011, as part of the company’s farewell tour.
Imported from Europe for its ninth SummerScape season, Bard’s authentic and sensationally popular Spiegeltent is hosted all summer long by “the greatest cabaret artist of this generation” (New Yorker), Justin Vivian Bond. A handmade pavilion decorated with mirrors and stained glass evoking a bygone era of glamour, the mirrored tent provides a sumptuous and magical environment to enjoy cutting-edge cabaret and world-class musical performances – almost all of which have sold out in recent years – plus dining and a late-night salon throughout the festival.
Critical Acclaim:
London’s Times Literary Supplement lauded SummerScape as “the most intellectually ambitious of America’s summer music festivals.” The New Yorker called it “one of the major upstate festivals,” and American Record Guide agreed, “Bard’s SummerScape has to be one of the New York area’s great seasonal escapes.” Travel and Leisure reported, “Gehry’s acclaimed concert hall provides a spectacular venue for innovative fare.” Newsday called SummerScape “brave and brainy,” Huffington Post dubbed it “a highbrow hotbed of culture,” Musical America judged it “awesomely intensive,” GALO (Global Art Laid Out) magazine named it “one of the great artistic treasure chests of the tri-state area and the country,” and the New York Times pronounced it “ever a hotbed of intellectual and aesthetic adventure.” As the New York Sun observed, “Bard … offers one of the best lineups of the summer for fans of any arts discipline.” Summarizing SummerScape’s manifold appeal, the New York Post observed, “It’s hard not to find something to like, and it’s even harder to beat the setting: the gleaming, Frank Gehry-designed Fisher Performing Arts Center in bucolic Annandale-on-Hudson.”
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Bard SummerScape 2014 – highlights by genre
The numerous offerings that make up the comprehensive 25th annual Bard Music Festival, Schubert and His World,” take place during SummerScape’s two final weekends: August 8–10 and August 1517. Through the prism of Schubert’s life and career, this year’s festival will explore the native city with which he is so closely identified. Vienna was the site of an enduring grandeur, but also a city where cozy Biedermeier domesticity would soon succumb to Romanticism, and where artistic restraint was as much a function of Metternich’s police state as of bourgeois respectability. Such tensions are reflected in Schubert’s art, in which nostalgia and innovation – like the minor and major modes – are always inextricably entwined.
The present year is a fitting one in which to honor Schubert, for it marks the bicentennial of his setting of Goethe’s Gretchen am Spinnrade, long recognized as his first masterpiece, on October 19, 1814; the date has come to be known as the “Birthday of the German Lied.” For the composer once overshadowed by Beethoven and Rossini and best known for his lyrical miniatures, then sentimentalized as shy and lovelorn but surrounded by jovial friends, and more recently cast as a sexually ambiguous subversive who set the course of music history away from Beethoven’s monumental example, the time is ripe for Bard’s scholarly reappraisal.
The Music Festival’s programs, built thematically and spaced over the two weekends, range from “The Legacy of a Life Cut Short” to “Schubert and Opera.” Along with music by his predecessors, contemporaries, and musical descendants, a broad sampling of Schubert’s own compositions will be heard. Two thought-provoking panel discussions will be supplemented by informative pre-concert talks and commentaries, which illuminate each concert’s themes and are free to ticket holders.
Weekend One, August 8–10: The Making of a Romantic Legend
The opening weekend of the Bard Music Festival contextualizes Schubert’s early life and career alongside the music of his contemporaries, including his teacher, Antonio Salieri, and such Viennese trends as the development of the art song, the Beethoven legacy, the post-1815 obsession with Italian opera, and the virtuoso cult. The weekend concludes with a double-bill of rarities: Schubert’s one-act stage-work Die Verschworenen and Franz von Suppé’s hit operetta Franz Schubert.
Weekend Two, August 15–17: A New Aesthetics of Music
Starting with a focus on the last years of his life, the second weekend of the Bard Music Festival addresses the nature of Schubert’s originality, recreates the one public concert that he devoted entirely to his own music, and offers a consideration of his legacy and influence on late-19th and 20th-century composers.
Since the founding of the Bard Music Festival, Princeton University Press has published a companion volume of new scholarship and interpretation for each season, with essays and translated documents relating to the featured composer and his world. Scholars-in-Residence Christopher H. Gibbs and Morten Solvik are the editors of the upcoming 2014 volume, Franz Schubert and His World.
Described as “uniquely stimulating” by the Los Angeles Times, and named “one of New York’s premier summer destinations for adventurous music lovers” by the New York Times, the Bard Music Festival has impressed critics worldwide. On his blog, New York Times journalist Steve Smith confesses:
“For an unrepentant music geek like me, the Bard Music Festival is simply irresistible: a fabulous wealth of music by a major composer from the classical tradition, surrounded and contextualized with works by forebears, peers, colleagues, friends, enemies, students, followers – you name it.”
The New York Times reports that “performers engaged by Bard invariably seem energized by the prospect of extending beyond canonical routine, and by an audience that comes prepared with open ears and open minds.” As the Wall Street Journal’s Barrymore Laurence Scherer observes:
“The Bard Music Festival … no longer needs an introduction. Under the provocative guidance of the conductor-scholar Leon Botstein, it has long been one of the most intellectually stimulating of all American summer festivals and frequently is one of the most musically satisfying. Each year, through discussions by major scholars and illustrative concerts often programmed to overflowing, Bard audiences have investigated the oeuvre of a major composer in the context of the society, politics, literature, art, and music of his times.”
The 25th annual Bard Music Festival is made possible in part through the generous support of the Board of the Bard Music Festival and the Friends of the Fisher Center, as well as grants from The Andrew W. Mellon Foundation, the National Endowment for the Arts, and the New York State Council on the Arts. Additional underwriting has been provided by Jeanne Donovan Fisher, James H. Ottaway, Jr., Felicitas S. Thorne, Helen and Roger Alcaly, the Bettina Baruch Foundation, Mrs. Mortimer Levitt, Michelle R. Clayman, Margo and Anthony Viscusi, and the Furthermore Foundation. Special support has also been provided by the Mrs. Mortimer Levitt Endowment Fund for the Performing Arts.
Schubert’s contemporary Carl Maria von Weber (1786–1826) is best known for Der Freischütz, the opera with which he established Germany’s own homegrown Romantic opera tradition, free from French and Italian influence and distinguished by novel orchestrations and supernatural elements. His next major contribution to the genre, Euryanthe (1823), has not achieved the same fame. Yet the opera – a story of chivalry, betrayal, innocence, and love, again imbued with the supernatural – was no less ambitious or innovative. Euryanthe, unlike Der Freischütz, was through-composed, heralding a conclusive break with the spoken dialogue of Singspiel, and it was in Euryanthe that Weber first made extensive use of recurring musical motives, bringing cohesiveness to the score and anticipating the Wagnerian technique. Though hailed as “musically sublime” (The Guardian) and arguably “Weber’s greatest masterpiece” (NPR), Euryanthe remains largely neglected. Only its overture is performed with any regularity; revivals of the opera in its entirety are rare, not least in America, where it has not been seen since the Metropolitan Opera’s staging 100 years ago, in 1914.
Bard’s upcoming production, then, marks a major historical milestone. Irish Times Theatre Award-winner Kevin Newbury returns to direct, following his success with Richard Strauss’s Die Liebe der Danae at SummerScape three years ago; WQXR named the production one of theBest of 2011,” and the New York Times observed: “An opera needs to be able to catch fire onstage, and in the SummerScape production, directed with imagination and emotional nuance by Kevin Newbury, Danae certainly does.” The new production will run for five performances (July 25, 27 & 30; Aug 1 & 3), with an Opera Talk, free and open to the public, before the matinee on July 27.
This summer, Botstein also leads a semi-staged performance of Schubert’s seldom-heard opera Fierrabras (1823), which will draw the 25th annual Bard Music Festival – and, indeed, the entire seven-week Bard SummerScape festival – to a thrilling close (August 17). Fierrabras was intended, like Euryanthe, for Vienna’s Kärntnertor Theater, and marks Schubert’s own attempt to compose grand Romantic opera in German. Although it was never staged during his lifetime, the opera – the story of a fictitious Saracen knight at the time of Charlemagne – has since found a following; at its 1988 Austrian premiere, the Frankfurter Allgemeine Zeitung declared that, “against the judgment of history,” Fierrabras was “triumphantly rescued” at last.
As the Financial Times concluded, after last season’s first fully-staged American production of Sergei Taneyev’s Oresteia, “Some of the most important summer opera experiences in the U.S. are not at the better known festivals but at Bard SummerScape.Musical America agreed: “Bard’s annual opera has become an indispensable part of the summer operatic landscape because the choice of works is invariably inspired and their productions distinctively creative.
Although German poet, dramatist and novelist Heinrich von Kleist (1777–1811) is now recognized as “by far the most important North German dramatist of the Romantic movement” (Encyclopedia Brittanica), his work was all but forgotten until its early 20th-century rehabilitation by such luminaries as Rilke, Kafka, and Thomas Mann. His romantic drama Penthesilea, drawn loosely from Homer, recounts the meeting between its eponymous heroine, the Queen of the Amazons, and the Greek hero Achilles; the ferocity of her passion collides with his stubborn will, setting in motion a tragicomedy of love and misunderstanding that threatens to derail the course of history.
Receiving its world premiere at Bard, Love in the Wars is an original version of Penthesilea by John Banville, whose 14th novel, The Sea, won the 2005 Man Booker Prize. Kleist’s lucid prose has long exerted a profound influence on the Irish novelist, who is considered “one of the great stylists writing in English today” (Boston Globe). A production of Banville’s adaptation of another Kleist play, The Broken Jug, prompted Theatre Journal to conclude: “While the illumination certainly has at its core Kleist’s own genius, he is served with tremendous flourish by his adapter.” Opening for two previews and eight performances between July 10 and July 20, SummerScape’s world premiere presentation of Love in the Wars will be directed by the “inventive” (New York Times) two-time Obie Award-winner Ken Rus Schmoll.
Bard’s theatrical track record is a stellar one. Last season, when the festival premiered an original stage adaptation of Mikhail Bulgakov’s seminal novel The Master and Margarita, Time Out New York pronounced it “a radically re-imagined stage version of the Bulgakov classic,” which successfully captured “the dark electricity that emanates from the classic itself, the tingle of being an innocent reader trapped between two magnetic poles.
When the Trisha Brown Dance Company opened SummerScape’s 2010 season, the Star-Ledger declared: “If any dance event is worth a quick run out of town, it’s this one.” Now making its farewell tour with some of the company’s final East Coast stage performances, the esteemed ensemble returns to present the final creation of MacArthur Fellow Trisha Brown – “the innovative high priestess of postmodernist dance” (New York Times) – alongside revivals of some of her most beloved works, including collaborations with Laurie Anderson and Robert Rauschenberg. As the Village Voice observes, “Works by Brown don’t just challenge our perceptions; they expand our minds and untether our spirits.” Proscenium Works: 1979–2011 will be presented in three performances on June 27 and 28.
SummerScape has opened with significant dance performances each summer since 2005. On seeing A Rite (2013), a new dance-theater piece from the Bill T. Jones/Arnie Zane Dance Company and SITI Company, co-commissioned by SummerScape to celebrate the centenary of Stravinsky’s Rite of Spring last season, Deborah Jowitt marveled: “Like many immersed in dance, I’ve seen a number of works set to Stravinsky’s score. … This is the first new one to pull me into the music and its history in so many unexpected and provocative ways” (ArtsJournal).
Schubert and the Long 19th Century
The 2014 SummerScape Film Series will investigate the many ways in which Schubert’s music and early Romanticism have influenced international cinema. The image of Schubert as a shy, obscure, lovelorn man of the people, who wrote magical melodies in taverns, surrounded by cheerful friends, was cherished by audiences in the late-19th century and triumphantly exploited by 20th-century Hollywood, before being debunked in Fritz Lehner’s film Notturno (1986). To commemorate the centenary of the July Crisis in 1914, the festival will also include a series of films exploring the origins and meanings of the First World War. All films will be presented using new or archival 35mm prints.
Back for a ninth magnificent summer, the authentic, one-of-a-kind Belgian Spiegeltent has been sensationally popular since its introduction at Bard in 2006, the first time one of these fabulous structures appeared in America. The perfect place to discover new artists in an intimate setting throughout the festival, Bard’s Spiegeltent also provides a meeting place for drink, food, and celebration before and after performances in other venues. This season’s festivities will be hosted by returning Spiegeltent favorite and Tony-nominated “icon” (Huffington Post) Justin Vivian Bond. Food is casual summer fare, à la carte burgers from the grill, fresh salads, gourmet ice cream, microbrewed beer, local wine, and more, sourced locally whenever possible and in many cases from Bard’s own organic farm.
See below for chronological list of SummerScape 2014 highlights; key performance dates by genre; full program details for the Bard Music Festival; and ticket information.
SummerScape 2014: chronological list of highlights
June 27 & 28                SummerScape opens with Proscenium Works: 1979–2011 by Trisha Brown Dance Company
July 10–20                    Two previews and eight performances of John Banville’s Love in the Wars – A version of Heinrich von Kleist’s Penthesilea
July 3-Aug 3                 Film Series “Schubert and the Long 19th Century”
July 25–Aug 3             Five performances of Carl Maria von Weber’s opera Euryanthe
August 8                         Annual Bard Music Festival opening-night dinner in the Spiegeltent
August 8–10                Bard Music Festival, Weekend One: “The Making of a Romantic Legend”
August 15–17             Bard Music Festival, Weekend Two: “A New Aesthetics of Music”
SummerScape 2014: key performance dates by genre
Bard Music Festival, Weekend One: “The Making of a Romantic Legend” (Aug 8–10)
Bard Music Festival, Weekend Two: “A New Aesthetics of Music” (Aug 15–17)
Complete program details follow.
Carl Maria von Weber: Euryanthe
Sosnoff Theater
July 25* and Aug 1 at 7 pm
July 27, 30, and Aug 3 at 2 pm
Tickets start at $25
Franz Schubert: Fierrabras
Sosnoff Theater
August 17 at 4:30 pm (BMF Program 12)
Tickets start at $25
John Banville: Love in the Wars – A version of Heinrich von Kleist’s Penthesilea
Theater Two
Previews July 10 and 11 at 7:30pm
Performances July 12*, 17, 18, and 19 at 7:30 pm and July 13*, 16, 19, and 20* at 2 pm
Tickets start at $25
Trisha Brown Dance Company: Proscenium Works: 1979–2011
June 27 & 28 at 7:30 pm
June 28 at 2 pm*
Sosnoff Theater
Tickets start at $25
“Schubert and the Long 19th Century”
Thursdays and Sundays July 3 to August 3 at 7pm
Ottaway Film Center
Tickets: $10
Live Music, Cabaret, Festival Dining, and After Hours salon
Dates, Times, and Prices vary
Program details of Bard Music Festival, “Schubert and His World”
WEEKEND ONE: The Making of a Romantic Legend
Friday, August 8
Program One*
The Legacy of a Life Cut Short
Sosnoff Theater
7:30 pm                 Pre-concert Talk
8 pm                         Performance
Franz Schubert (1797–1828)
   Gretchen am Spinnrade, D118 (1814)
   Overture to Der vierjährige Posten, D190 (1815)
   Symphony No. 3 in D, D200 (1815)
   Fantasy in F Minor, for piano duet, D940 (1828)
   String Quintet in C, D956 (1828)
   Dances, songs, and partsongs
Tickets starting at $25
Saturday, August 9
Panel One
Invention and Reinvention: Who Was Schubert?
Olin Hall
10 am–noon
Free and open to the public
Program Two
From “Boy” to Master: The Path to Erlkönig
Olin Hall
1 pm                         Pre-concert Talk
1:30 pm                 Performance
Franz Schubert (1797–1828)
   String Quartet in B-flat, D112 (1814)
   Erlkönig, D328 (1815)
   Songs, dances, and partsongs
Arias, songs, and piano works by Christoph Willibald Gluck (1714–87), Antonio Salieri (1750–1825), Johann Friedrich Reichardt (1752–1814), Wolfgang Amadeus Mozart (1756–91), Johann Rudolf Zumsteeg (1760–1802), Ludwig van Beethoven (1770–1827), Carl Friedrich Zelter (1758–1832), Carl Czerny (1791–1857), and Gioachino Rossini (1792–1868)
Tickets: $35
The Song as Drama: Winterreise
Olin Hall
5pm                          Performance
Franz Schubert (1797–1828)
   Winterreise, D911 (1827)
Tickets: $35
Program Three
Mythic Transformations
Sosnoff Theater
7 pm                         Pre-concert Talk
8 pm                         Performance
Franz Schubert (1797–1828)
   Symphony No. 8 in B minor, “Unfinished,” D759 (1822)
   Sonata in C, “Grand Duo,” D812 (1824; orch. Joseph Joachim, 1855)
   Songs, orch. Hector Berlioz (1803–69); Jacques Offenbach (1819–80); Johannes Brahms (1833–97); and Anton Webern (1883–1945)
Kurt Atterberg (1887–1974)
   Symphony No. 6 in C, Op. 31 (1928)
Tickets starting at $25
Sunday, August 10
Program Four
Goethe and Music: The German Lied
Olin Hall
10 am    Performance with commentary
Songs by Franz Schubert (1797–1828); Franz Joseph Haydn (1732–1809); Johann Friedrich Reichardt (1752–1814); Wolfgang Amadeus Mozart (1756–91); Johann Rudolf Zumsteeg (1760–1802); Ludwig van Beethoven (1770–1827); Carl Friedrich Zelter (1758–1832); Carl Loewe (1796–1869), Felix Mendelssohn (1809–47); and Robert Schumann (1810–56)
Tickets: $30
Program Five
Before Unspeakable Illness
Olin Hall
1 pm                         Pre-concert Talk
1:30 pm                 Performance
Franz Schubert (1797–1828)
   Quartettsatz, D703 (1820)
   Marche militaire, D733 (?1818)
   Fantasy in C, “Wanderer,” D760 (1822)
   Dances, songs, partsongs
Tickets: $35
Program SIX*
Schubert and Viennese Theater
Sosnoff Theater
5 pm                         Pre-concert Talk
5:30 pm                 Performance
Franz Schubert (1797–1828)
   Die Verschworenen, Singspiel in one act, D787 (1823)
Franz von Suppé (1819–95)
   Franz Schubert, operetta in one act (1864)
Tickets starting at $25
WEEKEND TWO: A New Aesthetics of Music
Friday, August 15
Schubert on Film
Free and open to the public
László Z. Bitó ’60 Conservatory Building
5:00 Performance
Schubert’s Kosegarten Liederspiel
Tickets: $20
Program SEVEN*
Beethoven’s Successor?
Sosnoff Theater
7:30 pm                 Pre-concert Talk
8 pm                         Performance
Franz Schubert (1797–1828)
   First Movement from String Quartet in D minor, D810 (1824)
   Fragment aus dem Aeschylus, D450 (1816)
   Die Allmacht, D852 (1825)
   Der Wanderer an den Mond, D870 (1826)
   Schlachtgesang, D912 (1827)
   Ständchen, D920 (1827)
   Piano Trio in E-flat, D929 (1827)
   Der Kreuzzug, D932 (1827)
   Die Sterne, D939 (1828)
   Auf dem Strom, D943 (1828)
Tickets starting at $25
Saturday, August 16
Panel TWO
“Far Fairer Hopes”: Originality and Influence
Olin Hall
10 am—noon
Free and open to the public
Program EIGHT
The Music of Friendship
Olin Hall
1 pm                         Pre-concert Talk
1:30 pm                 Performance
Franz Schubert (1797–1828)
   Gondelfahrer, D809 (1824)
   Abschied von der Erde, D829 (1826)
   Widerspruch, D865 (1826)
   Grab und Mond, D893 (1826)
   Zur guten Nacht, D903 (1827)
   Selections from 12 Waltzes (Valses nobles), D969 (1827)
Works by Anselm Hüttenbrenner (1794–1868); Josef Lanner (1801–43); Benedict Randhartinger (1802–93); Franz Lachner (1803–90); Maximilian Leidesdorf (1818–89); and others
Tickets: $35
Program NINE
Late Ambitions
Sosnoff Theater
7 pm                         Pre-concert Talk
8 pm                         Performance
Franz Schubert (1797–1828)
   Mirjams Siegesgesang, D942 (1828)
   Mass in E-flat, D950 (1828)
   Psalm 92, D953 (1828)
Luciano Berio (1925–2003)
   Rendering (1990)
Tickets starting at $25
Sunday, August 17
Program TEN
Fellowship of Men: The Male Choral Tradition
Olin Hall
10 am                      Performance: Members of the Bard Festival Chorale, James Bagwell, choral director
Works by Franz Schubert (1797–1828); Michael Haydn (1737–1806); Simon Sechter (1788–1867); Heinrich Marschner (1795–1861); Jan Kalivoda (1801–66); Franz Lachner (1803–90); Felix Mendelssohn (1809–47); Robert Schumann (1810–56); Johannes Brahms (1833–97); Anton Bruckner (1824–96); and others
Tickets: $35
Program ELEVEN
The Final Months
Olin Hall
1 pm                         Pre-concert Talk
1:30 pm                 Performance
Franz Schubert (1797–1828)
   Rondo in A, for piano four hands, D951 (June 1828)
   Der Doppelgänger, D957/13 (August 1828)
   Piano Sonata in A, D959 (September 1828)
   Der Hirt auf dem Felsen, D965 (October 1828)
   Die Taubenpost, D965 A (October 1828)
Tickets: $35
Program TWELVE*
Schubert and Opera
Sosnoff Theater
3:30 pm                 Pre-concert Talk
4:30 pm                 Performance
Franz Schubert (1797–1828)
   Fierrabras, D796 (1823)
Tickets starting at $25
Bard SummerScape ticket information
Tickets for all Bard SummerScape events go on sale to the public on February 18.
For tickets and further information on all SummerScape events, call the Fisher Center box office at 845-758-7900 or visit
SummerScape opera, theater, and dance performances and most Bard Music Festival programs are held in the Sosnoff Theater or Theater Two in Bard’s Richard B. Fisher Center for the Performing Arts, designed by Frank Gehry and celebrated since its opening as a major architectural landmark in the region. Some chamber programs and other BMF events are in Olin Hall. The Spiegeltent has its own schedule of events, in addition to serving as a restaurant, café, and bar before and after performances. Film Series screenings are at the Jim Ottaway Jr. Film Center in the Milton and Sally Avery Arts Center.
New York City Round-Trip Coach Transportation:
To make a reservation on the round-trip SummerScape coach provided exclusively to ticket holders for specific performances indicated by * in the listings above, call the box office at 845-758-7900 or select this option when purchasing tickets. The round-trip fare is $20 and reservations are required. The coach departs from behind Lincoln Center, on Amsterdam Avenue between 64th and 65th Street. Bus departure time will be included on the ticket order receipt, or visit
Full Schedule:
For a complete schedule of SummerScape and Bard Music Festival events (subject to change), follow the links given below. Updates are posted at the festival web site
Tickets for all SummerScape events go on sale to the public on February 18. Fisher Center members receive priority access to the best seats in advance, and those who join the Center’s email list receive advance booking opportunities as well as regular news and updates.
Bard SummerScape:
Bard Music Festival:
Tickets: [email protected]; or by phone at 845-758-7900.
Updates: Bard’s “e-members” get all the news in regular updates.  Click here to sign up, or send an e-mail to [email protected].
All program information is subject to change.
The 2014 SummerScape season is made possible in part through the generous support of the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts.






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