The production made the audience aware of the grim context of the opera's composition (both Ullmann and Kien were soon murdered in Auschwitz), but it touched on the horror lightly, bringing out the opera's elements of cabaret-like parody, as well as its veins of sweet lyricism. In the third scene, she joined soprano Rebecca Farley (Girl with Bobbed Hair) and tenor Alexander McKissick (Soldier) in an exquisitely blended trio that served as a tribute to the thoroughness of the evening's musical preparation.
Cohn, Fred (2016) In Review: New York City. In: Opera News, Vol. 80, No. 8, pp. 44-45. Available at https://openmusiclibrary.org/article/672741/.