Leon Botstein, the president of Bard College and music director of the American Symphony Orchestra, is no stranger to ambitious projects. His latest endeavor, bringing Giacomo Meyerbeer’s opera “Le Prophète” back to the stage, underscores his dedication to unearthing musical treasures that have languished in obscurity. This grand opera, which had not seen a significant U.S. production since the late 1970s, debuted at Bard’s SummerScape festival, running until August 4th.

Botstein is renowned for his innovative approach to programming. His work often focuses on reviving pieces that have been unfairly neglected by the passage of time and shifting cultural tastes. “Le Prophète” fits seamlessly into this mission. The opera’s themes of fanaticism and demagoguery, reimagined for contemporary audiences by director Christian Räth, offer startlingly relevant social commentary.

The production at Bard’s Sosnoff Theater showcases a stellar cast. Tenor Robert Watson plays the lead role of Jean, while mezzo-soprano Jennifer Feinstein embodies Fidès, and soprano Amina Edris portrays Berthe. Leon Botstein himself conducts the American Symphony Orchestra, bringing his trademark energy and insight to Meyerbeer’s complex score.

Botstein collaborated with musicologist Mark Everist to restore the opera’s original 11-minute overture, which Meyerbeer had removed during rehearsals. This commitment to authenticity extends to other elements of the production, although practical considerations necessitated the omission of the third-act ballet. Instead, excerpts from the ballet were presented in the lobby during intermissions.

SummerScape, launched by Botstein in 2003, aims to protect and revive overlooked musical works. Past productions have included Janáček’s “Osud” and another Meyerbeer opera, “Les Huguenots.” These efforts have not only reinvigorated interest in these works but have also served as a launching pad for emerging operatic talent.

As the curtain rises on “Le Prophète,” Leon Botstein continues to challenge conventional wisdom about the operatic canon. His work at Bard College and with SummerScape remains a beacon for rediscovering the rich, yet overlooked, legacies of composers like Meyerbeer. Looking ahead, Botstein plans to stage Smetana’s rarely performed “Dalibor,” ensuring that Bard College remains a focal point for musical rediscovery.