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Adjusting to the Inner Dramatic
Christine Goerke

by Daniel Vasquez


Sitting in the auditorium during intermission, my friend Will replied to my question: “Last time I saw her? Alcina, 2003. You?” My mind flashed to an evening five years earlier. “Donna Elvira at the Met, 2004.” Yet here we were, in Jacksonville, Florida, about to see Christine Goerke sing the first Turandot of her career.

We discussed the meaning of Goerke’s drastic repertoire change as we waited for the second act to begin. Here was an artist who garnished international attention as Gluck’s Iphigénie en Tauride back in 2000 and, subsequently, created a major career as an important interpreter in the operas of Handel and Mozart. Indeed, my mind couldn’t help but go back to that Don Giovanni.

That particular performance took place with the illustrious Metropolitan Opera Company, and despite (or because of) the glittery cast, it was Goerke who consistently dominated the evening’s proceedings. During the daunting “Mi tradì,” she masterfully resolved the challenges tha...

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