When Lise Davidsen sang the first four notes of Elisabeth's aria Dich, teure Halle, from Wagner's Tannhauser, at the Metropolitan Opera last night, all I could think to write down in my notebook was holy and remembering to mind my manners cow. That opening salvo was magnificent an ideal balance of warmth, penetration and power that didn't seem to strain her one bit.
Sensitive and theatrically engaged, Davidsen doesn't merely ply audiences with lots of high-decibel singing. In the long introduction to Lisa's suicide scene, she swayed back and forth, almost unconsciously, as her character w
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