David Stearns: “The opera walks an uncertain line between representation and abstraction, unfolding along traditional linear lines until a fleet of dancers in military uniform, choreographed by Lucinda Childs, suggests “Springtime for Hitler” is on the way. Not until you’re deep into the opera do you realize that complete portrayals of key characters aren’t attempted; they’re presented, nonjudgmentally, in pieces for the audience to assemble. Is it a Faust story? Nothing so cliched. I saw an ironic parable of how saving the world may well destroy it.”