There's something timeless, solid and reassuring about attending a concert in Pittsburgh. The place seems contented. "The burghers are industrious" is an old fashioned way you might put it. Citizens seem to take themselves seriously. Businessmen still wear ties. Nobody pushes and shoves, the way New Yorkers do in that elbow war of a city. People make time to talk to each other in line.
Many of my most memorable early operatic experiences came from the Bayerische Staatsoper, either from when I was a student or a somewhat underoccupied summer intern in public relations. It's been all too long since my last visit, not to mention my last look at the Aigina pediments or the great Dürers in the Alte Pinakothek. In operatic terms the work of the Staatsoper is very much on this level. Hence, I'll not soon forget this three-day orgy, which began with a fine Nozze di Figaro, continued with Donizetti's Roberto Devereux with none other than Edita Gruberova as Elisabetta, and concluded with an important premiere, Peter Eötvös' and Albert Ostermaier's Die Tragödie des Teufels, an impeccable performance in a spectacular staging.