News

Artist Sara J. Winston, Bard’s Photography Program coordinator, writes about her experience living with multiple sclerosis in an opinion piece for the New York Times. Through her photographs and essay, Winston exposes the realities of life with a chronic condition managed by regular medical treatment. “Rather than orient myself to the cycle of the moon, I orient myself to the cycle of infusion. And it has become a system in my creative work. My body is a clock,” she writes. “Every 28 days, I point the camera toward myself to document my illness and care. I have used my time as a patient in the infusion suite, a place where I sometimes feel powerless, to reclaim my autonomy as an artist and photographer.”

“In the middle of June, a trio of Christmas trees hang upside down above a dimly lit stage at Bard College’s Fisher Center, north of New York City,” writes Bard alumna Quinn Moreland ’15 for Pitchfork. Reporting back from a dress rehearsal of Illinois, a stage adaptation of the acclaimed Sufjan Stevens album of the same name, Moreland spoke with Justin Peck, director, choreographer, and cowriter of the production, an “unusual project that the acclaimed ballet dancer and choreographer can’t quite define himself.”

“I couldn’t tell you if it’s a concert or dance-theater piece or musical,” Peck told Pitchfork. “It’s somewhere amidst all that but feels like its own thing.” Adapting the acclaimed album had long been an ambition of Peck’s, whose admiration for Stevens’s work stretches back to his teenage years, before the two became frequent collaborators. With the Fisher Center production, Peck and his cocreators sought to create something that would capture the spirit of Stevens’s Illinois, a 22-track epic that weaves personal experience with state history. Nostalgia for the album was also in Peck’s mind as he adapted it. “Not only does everyone love this album, they can tell me where they were when they first heard it, what they were going through, and how the album helped them understand themselves,” Peck says. “It’s an album that touched an entire generation.”

Artist Nayland Blake ’82, professor of studio arts and codirector of the Studio Arts Program at Bard, has collaborated with fashion label JCRT to launch the inaugural capsule collection of ATDM (“Artist, Title, Date, Medium”), a new clothing line of limited-run collections created with contemporary artists. Blake’s designs include a shirt printed with the phrase “This is clothing of the opposite gender”—a commentary on Arizona’s anti-LGBTQ+ Senate Bill 1026, which targets drag performances. “Blake, who is nonbinary, intends these pieces to function as wearable messages of resistance and support for trans people and anyone caught wearing the ‘wrong’ clothes,” writes Hyperallergic. In honor of Pride Month, all the profits from this ATDM x Nayland Blake collection will be donated to the Transgender Law Center, the largest trans-led organization for trans advocacy in the US, with $30,000 raised once all 400 of the limited-edition shirts are sold.

Kelly Reichardt, S. William Senfeld Artist in Residence at Bard College, spoke with the New Yorker about her life and process as a filmmaker and faculty member at Bard. “Reichardt is this country’s finest observer of ordinary grit, an American neorealist to place among the likes of Robert Bresson, Yasujirō Ozu, and Vittorio De Sica,” writes Doreen St. Félix for the New Yorker. “The regard for her takes on a hero aspect. It can often feel dazed because of the deep reserve of Reichardt’s stamina, which has carried her through her singular three-decade career.” Her eighth and latest feature film Showing Up, set in Portland about a sculptor named Lizzy, is a rejoinder to the trope of the artist at work and “projects the air of an encompassing thesis, an artist’s statement” by Reichardt.
 

Sarah Hennies, visiting assistant professor of music at Bard College, wrote about the alternative country band Souled American for NPR. The band, in Hennies’s view, arguably invented the genre—but since the release of its album Notes Campfire in 1996, the band has dwindled to near nonexistence, with its albums out of print and only a small number of performances in the last 27 years. But the group’s diehard fans have long made a concerted effort to revive interest, and now the full discography is available on Bandcamp for the first time. Souled American’s music renders “atmospheric, languid, and strange evocations of country living,” writes Hennies. “It’s a wonder that these songs work at all. The music is slow and loose with little regard for a consistent beat; the lyrics are poetic and frequently profound, but often cryptic and stunted. What ties it all together is the sound: Guitars twinkle and Adducci’s bass slides and glides in and out of chord progressions in support of drawling, yearning, and ultimately shockingly powerful voices.”

The curtain rises next week on Bard SummerScape’s 20th Anniversary Season: Breaking Ground. Presented in New York’s Hudson Valley by the Fisher Center at Bard, also celebrating its 20th anniversary this year, the seven-week annual arts festival opens next Friday with the world premiere of Illinois (June 23–July 2). A new SummerScape commission, Illinois is a full-length music-theater work based on the 2005 concept album of the same name by Grammy- and Oscar-nominated singer-songwriter Sufjan Stevens. Directed and choreographed by Tony Award winner and frequent Stevens collaborator Justin Peck (Carousel on Broadway, Steven Spielberg’s West Side Story, New York City Ballet), with music and lyrics by Stevens and a story by Peck and Pulitzer Prize-winning playwright Jackie Sibblies Drury (Fairview, Marys Seacole), Illinois is an ecstatic pageant of storytelling, theater, dance, and live music that takes audiences on a wild ride through the American heartland. Chartered coach transportation from New York City is available on June 25, June 29, and July 2; more information is available here. There will also be a pre-performance, opening-night members’ toast (June 23), an exclusive opening-night after-party in the Spiegeltent with the cast and creative team (June 23), a pre-performance talk with Justin Peck (June 25), and a post-performance conversation with the performers (June 30).

SummerScape’s next mainstage event is the first major American production of Camille Saint-Saëns’s grand opera Henri VIII, featuring bass-baritone Alfred Walker and the American Symphony Orchestra in an original new staging by visionary French director Jean-Romain Vesperini (July 21–30).

Finally, over the last two weekends of SummerScape, the 33rd Bard Music Festival presents “Vaughan Williams and His World”: eleven themed concerts, plus panel discussions and special events, providing an in-depth re-examination of the great but frequently misunderstood British composer Ralph Vaughan Williams (Aug 4–6; Aug 10–13). Chartered coach transportation from New York City is available for Henri VIII (July 23 & 30) and the final program of the Bard Music Festival (Aug 13); more information is available here. Henri VIII and six concerts will also stream live to home audiences worldwide on Upstreaming, the Fisher Center’s virtual stage.

As in previous seasons, SummerScape’s one-of-a-kind Belgian Spiegeltent (June 22–Aug 12) provides a sumptuous environment for cutting-edge live music and dancing on Fridays, Saturdays, and some Sundays throughout the festival, with a new “Bluegrass on Hudson” series on Thursdays. Highlights of the Spiegeltent season include John Cameron Mitchell and Amber Martin, Nona Hendryx’s tribute to Betty Davis, Ari Shapiro with Matteo Lane, Alicia Hall Moran, Erin Markey, Jasmine Rice LaBeija, Britton and the Sting, Nicholas Galanin and Ya Tseen, Susanne Bartsch, Martha Redbone, The Hot Sardines, Lola Kirke ’12, and more. Members of the local community are also invited to a free, day-long 20th anniversary Community Celebration with a special performance from Latin Grammy-winning band Flor de Toloache at the Fisher Center (July 15).

Tickets for mainstage events start at $25. For complete information regarding tickets, series discounts, and more, visit fishercenter.bard.edu or call Bard’s box office at (845) 758-7900.

What critics are saying about Bard SummerScape…

“Seven weeks of cultural delight.” (International Herald Tribune)
“A track record of reliable transcendence.” (New York Times)
“One of the major upstate festivals.” (New Yorker)
“A highbrow hotbed of culture.” (Huffington Post)
“The smartest mix of events within driving distance of New York.” (Bloomberg News)
“Leon Botstein’s Bard SummerScape and Bard Music Festival always unearth piles of buried treasure.” (New Yorker)
“One of the best lineups of the summer for fans of any arts discipline.” (New York Sun)
“One of the great artistic treasure chests of the tri-state area and the country.” (GALO magazine)
“One of the New York area’s great seasonal escapes.” (American Record Guide)
“A haven for important operas.” (New York Times)
“An indispensable part of the summer operatic landscape.” (Musical America)
“Essential summertime fare for the serious American opera-goer” (Financial Times, UK)
“Botstein and Bard SummerScape show courage, foresight and great imagination, honoring operas that larger institutions are content to ignore.” (Time Out New York)
“A spectacular venue for innovative fare.” (Travel and Leisure magazine)
“It’s hard not to find something to like, and it’s even harder to beat the setting.” (New York Post)
“The experience of entering the Fisher Center and encountering something totally new is unforgettable and enriching.” (Time Out New York)

…and about the Bard Music Festival

“The summer’s most stimulating music festival.” (Los Angeles Times)
“It has long been one of the most intellectually stimulating of all American summer festivals and frequently is one of the most musically satisfying.” (Wall Street Journal)
“Part boot camp for the brain, part spa for the spirit.” (New York Times)
“A highlight of the musical year.” (Wall Street Journal)
“The most intellectually ambitious of America’s summer music festivals.” (Times Literary Supplement, London)
“One of the ‘Ten Can’t-Miss Classical Music Festivals.’” (NPR Music)
“A two-weekend musicological intensive doubling as a sumptuous smorgasbord of concerts.” (New York Times)
“An always intrepid New York event.” (Time Out New York)
“One of New York’s premier summer destinations for adventurous music lovers.” (New York Times)SummerScape 2023: key dates

June 22–Aug 12
Spiegeltent: live music and dancing

June 23–July 2
Music-theater: Illinois by Justin Peck, Sufjan Stevens and Jackie Sibblies Drury
(world premiere of new SummerScape commission)

July 15
20th Anniversary Community Celebration (free)

July 21–30
Opera: Saint-Saëns’s Henri VIII (new production)

Aug 4–6
Bard Music Festival: Vaughan Williams and His World
   Weekend One: Victorians, Edwardians, and Moderns

Aug 10–13
Bard Music Festival: Vaughan Williams and His World
   Weekend Two: A New Elizabethan Age?

All programs subject to change


The Fisher Center is generously supported by Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Advisory Boards of the Fisher Center at Bard and Bard Music Festival, Fisher Center and Bard Music Festival members, the Ettinger Foundation, the Thendara Foundation, and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. Fisher Center LAB has received funding from members of the Live Arts Bard Creative Council, the Lucille Lortel Foundation, and the Fisher Center’s Artistic Innovation Fund, with lead support from Rebecca Gold and S. Asher Gelman ’06 through the March Forth Foundation.
                                                                                                           
                                                     
Illinois is a co-commission of the Fisher Center, Chicago Shakespeare Theater, Southbank Center, and TO Live, and has been made possible with a commissioning grant from The O’Donnell-Green Music and Dance Foundation, residency support from Project Springboard: Developing Dance Musicals, and The Ted & Mary Jo Shen Charitable Gift Fund. The production is generously supported by Emily Blavatnik and the Blavatnik Family Foundation. Additional funding has been received from the Fisher Center’s Artistic Innovation Fund, with lead support from Rebecca Gold and S. Asher Gelman ‘06 through the March Forth Foundation.

Henri VIII has received support from Villa Albertine.
The 2023 Bard Music Festival has received support from the Vaughan Williams Foundation.

Bard College has been awarded two grants from the National Endowment for the Arts (NEA) for the Fisher Center’s presentation of Henri VIII by composer Camille Saint-Saëns, and the Sistema Side-by-Side Program at the Longy School of Music. The awards, both for $30,000, will support both the new production of the 1883 opera for Bard’s 2023 SummerScape festival, and the 2023–24 program of Sistema Side-by-Side, a musical and social mentoring program that pairs children ages 6–18 from neighborhood music programs and local schools with Longy conservatory student mentors for lessons, rehearsals, and performances.

The NEA, established in Congress in 1965, is an independent federal agency that is the largest funder of the arts and arts education in communities nationwide and a catalyst of public and private support for the arts. By advancing equitable opportunities for arts participation and practice, the NEA aims to foster and sustain an environment in which the arts benefit everyone in the United States. Henri VIII and Sistema Side-by-Side are among 1,130 projects across the country that were selected for this second round of funding from the NEA’s Grants for Arts Projects, its largest grants program for organizations that provides comprehensive and expansive funding opportunities for communities.

“The National Endowment for the Arts is pleased to support a wide range of projects, including Bard College’s Henri VIII and Sistema Side-by-Side Program, demonstrating the many ways the arts enrich our lives and contribute to healthy and thriving communities,” said NEA Chair Maria Rosario Jackson, PhD. “These organizations play an important role in advancing the creative vitality of our nation and helping to ensure that all people can benefit from arts, culture, and design.”

Conducted by Leon Botstein and performed by the American Symphony Orchestra along with a cast of eleven principals plus the Bard Festival Chorale and dancers, the Fisher Center’s production of Henri VIII is directed by an all-French creative team. The stateliness and grandeur of French grand opera represent a fitting choice for the 20th-anniversary celebration of the Fisher Center while the tradition of political commentary of this genre offers an urgent and cautionary tale for contemporary times.