Leon Botstein, the president of Bard College and music director of the American Symphony Orchestra, has once again proven his dedication to reviving overlooked masterpieces. This time, Botstein turns his focus to Giacomo Meyerbeer’s opera “Le Prophète,” a work that has languished in relative obscurity for decades. The opera, last staged in the U.S. by the Metropolitan Opera in the late 1970s, is now a centerpiece at Bard’s SummerScape festival.

Botstein’s commitment to historical accuracy and musical integrity is evident in this production. Collaborating with musicologist Mark Everist, he has restored the original 11-minute overture, which Meyerbeer had cut during rehearsals. However, practical constraints have led to the exclusion of the third-act ballet, with excerpts being showcased in the lobby during intermissions.

“Le Prophète” is set in the 16th century but has been reimagined for contemporary audiences by director Christian Räth. The story, which features themes of religious fanaticism and demagoguery, feels remarkably relevant today. “The piece unfortunately feels very, very modern and rings a lot of bells for today,” notes Räth. This modern resonance is part of what makes Botstein’s revival so compelling.

The production boasts a stellar cast, including tenor Robert Watson as Jean, mezzo-soprano Jennifer Feinstein as Fidès, and soprano Amina Edris as Berthe. Botstein himself conducts, bringing his characteristic energy and insight to Meyerbeer’s complex score. His knack for identifying rising stars is well-known; previous SummerScape productions have featured singers who have gone on to significant careers.

Leon Botstein’s efforts to bring “Le Prophète” back to the stage are part of his broader mission to reintroduce neglected works to contemporary audiences. Since launching SummerScape in 2003, Botstein has revived numerous forgotten operas, including Janáček’s “Osud” and Meyerbeer’s “Les Huguenots.”

As audiences at Bard’s Sosnoff Theater experience “Le Prophète,” it becomes clear that Botstein’s dedication to musical scholarship and historical accuracy is unparalleled. His work ensures that these overlooked masterpieces are not just remembered but celebrated.