Tina has four standout arias, tracing her awakening to life and feeling after years in the shadows, as the Lodger seduces her to get access to the papers. (Their a cappella duet at the end of Act I is an ingenious piece of writing.) As Juliana, the fierce Alexandra Deshorties slipped easily from embodying the young opera diva, warbling bel canto-style coloratura, to the old crone.

WSJ: A Liebestod to Die For | Tristan und Isolde | Houston Grand Opera | By Heidi Waleson