Opera Chic has a weakness for Giacomo Meyerbeer's astonishing talent, the variety of his inventions -- oh the film noir coolness of Robert Le Diable, the imperfect shimmering allure of L'Africaine, the unabashed grandeur of Il Crociato in Egitto, the grand Rossinian dreams of Les Huguenots. Happily, Meyerbeer's works are not bashful about being operas -- the former piano prodigy was brave enough to dream big dreams and that's why he has a special place in Opera Chic's heart. The shameful way his reputation has been tarnished and insulted, for all the wrong reasons, mostly by someone who robbed Meyerbeer's blind, make every Meyerbeer revival a much-needed attempt to bring Giacomo back in the limelight his talent so richly deserves.
That's why one has to be grateful to Leon Botstein and Bard's Music Festival. And in the Wall Street Journal, Barrymore Laurence Scherer renders unto Giacomo the things which are Giacomo’s -- ie, his place among the giants: