festivals were back in 2021, albeit with varying sets of rules depending on the country, province, or city. Some required proof of vaccination and/or a recent PCR test. In other cases, an antigen test sufficed with some festivals setting up their own testing centres nearby. My tour began with the Munich Opera Festival at Bayerische Staatsoper, the oldest festival in Europe founded in 1875 by then General Director Karl von Perfall, featuring operas by Mozart and Wagner. In recent and pre-pandemic years, opera-goers could enjoy a diversified repertoire of works over five weeks, from the end of June to July 31. This year, the program was understandably sparser, with venues—in keeping with German social distancing rules—filled to less than 50% capacity. Under those conditions, managing to get a ticket for the Jun. 29 première of starring Jonas Kaufmann and Anja Harteros seemed nothing short of a miracle. Fans had waited years to hear the two superstars take on these pinnacle roles, many doubting, especially in the case of Kaufmann, whether this ultimate challenge would not be his nemesis. To my ears, not only is he fully at ease in the role, but one has rarely heard such dignified singing, such plentitude, such mastery in any role or on any stage—Kaufmann is a once-in-a-century phenomenon. Harteros is an atypical Isolde, the voice is supple, and though
