In an interview I had with composer Gabriela Ortíz last week, she confided that it was The Threepenny Opera – that cynical reflection of Weimar-era Germany – that was at the forefront of her mind while composing her latest opera. Comparisons to that Jazz Age work would seem to invite the expectation that Ortíz’s opera would also be suffused with its bracing fusion of “high” and “low” art.
