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>Hello - does anyone know if this performance of The Atonement was recorded/released?

I don't know about a recording, but the performance at University of Michigan is now available on youtube:   https://www.youtube.com/watch?v=vN_oCG-SJ70

Not up to the level of "Hiawatha" imho, but still an impressive work, impressively performed by a youthful orchestra and chorus.

>Did you do the entire Bard experience -- lectures, symposia, panel discussions, etc. -- or just the opera? 

Aside from "Dalibor" I did attend a few more concerts, mostly devoted to Martinu, the subject of this year's festival. I tend to not go to the lectures, etc.; I'm there for the music. Also, the festival program each year has enough information about each of the works presented.

> I have only been once, to see the 2010 production of "Der Ferne Klang"...

A stunning production, I thought. But then, just about every opera produced at Bard has interesting visual ideas, alongside their ever-reliable chorus, the festival orchestra, and top-quality, if not always top tier, soloists. All good reasons to attend...

>Thank heaven for Botstein, but I worry that Bard and the ASO might be too much of a one man show... Once Botstein goes, I suspect the same will happen at Bard.

Unfortunately, I tend to agree. He has committed musical academics and high level performers involved (Piers Lane and the late Rudolf Firkusny, to name two) but he literally does orchestrate the whole event.

The performance under discussion is now available to watch at the Bard Summerscape Opera site on YouTube.

https://www.youtube.com/watch?v=rIaaBjpSiOQ&list=PLfzbP01j_SLj4B4A46l-jLPjzWdSxt_wS&index=4

>Did anybody go see the premiere?

Not the premiere, but I was at the performance yesterday. I've been to nearly all of the Bard Festival opera rediscoveries since Schumann's "Genoveva" and though this isn't my favorite of all the works *musically* I feel it was probably their most successful opera production yet. Riveting is the best word I can think of. The lead singers, staging, the Festival chorus, the orchestra -- all in top form.

When I first heard about it, I thought, why that one? Why not "Libuse" or even "Brandenburgers in Bohemia"? (my two favorite Smetana operas.) But this production helped to elevate a work I once recalled as "good" into the ranks of "great." 

If anyone's near upstate New York, the final production is Sunday, August 3rd.

I heard the performance over NDR Kultur on Saturday and was curious what others in this forum thought of it, so I appreciate the thread. It did bring to mind "Le Cid," and while that had its big impressive moments it also felt rather vacant and yes, unmemorable.

"Gunlod" initially felt like it was going down the same path. Act one felt like a bit of a slog, but from act two on I was fully engaged. The orchestral and choral writing were what impressed me. Wagnerian, yes (a passage for strings was straight out of the Prelude to Lohengrin) but I also heard son Siegfried Wagner at times.

My issue was the vocal variability. Perhaps in response to the challenging music written for him, Odin felt strained. Gunlod herself was more consistent, but seemed to stay within the range of one emotion, semi-exaltation. As Suttung, Gunlod's husband, Derek Ballard was the standout exception - one of the most impressive bass voices I've heard since Gottlob Frick.

If a label such as CPO does release this work, and I hope they do, I'd say find a new tenor, a new soprano, but keep the bass!

"Le Prophete" will be staged at Bard College, Annandale-on-Hudson, New York this coming August, conducted by Botstein. Bard and Botstein performed "Les Huguenots" in a vocally good, curiously staged production some years ago; it will be interesting to see what they do with Meyerbeer's other great work.

https://fishercenter.bard.edu/events/le-prophete/

Raff's Autumn Symphony (the 10th) will be performed on a program that also features Louise Farrenc's 3rd Symphony, August 17th at Bard College.
https://fishercenter.bard.edu/events/bmf24-p9/

Part of this year's Bard Music Festival devoted to Berlioz, August 9th - August 18th
https://fishercenter.bard.edu/whats-on/programs/bard-music-festival/

I attended the premiere last night at Bard; definitely worth seeing if you're in the area. Alfred Walker, in the title role, was indeed an improvement from the concert performance at Bard some years ago. Amanda Woodbury's Catherine of Aragon, by far the most sympathetic character, received the largest ovation. The chorus, orchestra and staging were also up to the Bard standard, a high bar compared to opera companies in most major cities.

And, thank God, it was set in the accurate time period!

That article does mention "a project to create the first full recording of the piece" so one can only hope. Considering the incredible number of performances, and durability, of "Hiawatha's Wedding Feast" it's always amazed me that more of his choral works aren't available on recordings. I've especially been eager to hear "A Tale of Old Japan," which I believe was once in the Downloads section, but currently missing. Let's hope this performance of this major work of Coleridge-Taylor does atone for that (pun intended.)

Interesting, no mention thus far of the two other works on the disc, way more unsung than "Coq d'Or," which has been performed quite a bit of late (I think I've seen four or five productions in one form or other.)  "The Maid of Pskov" impresses me more each time I hear it - the terror is palpable in the crowd scene as they await the invasion of Ivan Groznie. Then later on, to show us a human side of Ivan, convincingly, makes for a rewarding experience, not just musically. "Pan Voyevode" is even less well known; as I recall this is mostly a suite of dances. Good stuff, but quite interchangeable with similar dances by Tchaikovsky in "Christmas Eve" or his own "Voyevode."

On a hunch, I bought this Hungaraton recording when it was an LP, and have been glad ever since. Apart from the Legend of St. Elizabeth it's probably my favorite of Liszt's choral works.

This program was repeated on the Czech station Vltava this past Saturday, but I was unable to catch it. And although excerpts from the three separate operas may have once been available in the Downloads board, I'm now unable to locate them. I'm particularly interested in Sebor's "The Templars in Moravia." Any information on that download's whereabouts or access to the recordings would be greatly appreciated.

Holst's "I Vow to Thee My Country," which, a bit uncannily, came to mind a few days before she passed. At the time I was thinking of next year's coronation. I think it works for either occasion.

"The love that asks no questions
The love that stands the test
That lays upon the altar
The dearest and the best..."

Most enjoyable; thanks for the alert.  We're fortunate indeed that Auber was so prolific; there's always more to discover!
Le Cheval du Bronze is still my favorite of his comic works, but Le Philtre comes close.

I agree whole-heartedly about the Armin Jordan recording; it was the performance that won me over to this work.

I was also in the audience for the Bard College production. My impression, after the curtain went down, was that most of us felt this *is* a work that deserves more performance. Yes, there were moments that seemed to overstay their welcome -- and just as many arresting moments - best of all, perhaps, the haunting, transcendent finale.

It should also be mentioned that this work was delayed for a full year due to the pandemic. That we could enjoy live opera once more, in the company of fellow music lovers, in a performance space built with the requirements of opera in mind, seemed a triumph in itself.