▁F ones ca ▁da - W oll heim , ▁in ▁the ▁New ▁York ▁Times , ▁pra ised ▁the ▁opera ' s ▁treatment ▁of ▁" big ▁them es ... of ▁idea ▁and ▁form , ▁image ▁and ▁projection , ▁sight ▁and ▁gaz e " ▁and ▁" music ▁of ▁qui ver ing ▁intensity ". ▁Reb e cca ▁W ish nia , ▁in ▁the ▁San ▁Francisco ▁Class ical ▁Vo ice , ▁described ▁the ▁opera ▁as ▁" sum pt uous ▁on ▁every ▁level ," ▁with ▁a ▁" st rik ing " ▁score : ▁" O ften , ▁it ’ s ▁the ▁little ▁things , ▁like ▁the ▁in ton ing ▁of ▁‘ S us anna ’ : ▁the ▁str essed ▁sy ll able ▁rising ▁before ▁the ▁terminal ▁fall , ▁a ▁nag ging ▁presence ▁grud ging ly ▁accepted . ▁Or ▁the ▁resolution s ▁of ▁the ▁dimin ished ▁fourth s ▁in ▁T omm aso ’ s ▁aria , ▁a ▁bre at ht aking ▁piece ▁of ▁worry ▁and ▁long ing ... M ost ▁memor ably , ▁the ▁music ▁unders c ores ▁Ar tem is ia ’ s ▁d eter ior ating ▁vision . ▁T ender , ▁high - p itch ed ▁g lim mers ▁shift ▁so ▁as ▁to ▁be ▁out ▁of ▁reach . ▁The ▁sh adows ▁are ▁flat - s ounding ▁ch ords : ▁impression istic , ▁but ▁with ▁a ▁distinct ly ▁contemporary ▁sens ibility .” ▁ ▁In ▁ 2 0 1 7 , ▁Schw ending er ▁was ▁commission ed ▁by ▁the ▁National ▁Fl ute ▁Association ▁to ▁compose ▁a ▁work ▁for ▁their