Erich Korngold's Die Tote Stadt is one of the best known underperformed operas in the repertoire. More popular in Europe than the U.S. Die Tote Stadt made a rare appearance last night at Symphony Hall in a blazing debut at by the Boston Symphony Orchestra and Boston Lyric  Opera, and the packed house the braved  the single digits temperatures were rewarded with the type of unique warmth only great art can provide.

I had been looking forward to the pairing of Christine Goerke and Brandon Jovanovich in this opera, so naturally disappointed when the tenor had to bow out shortly before due to illness. I'd heard, and very much liked British tenor, David Butt Philip  a number of recorded performances, but hearing him live for the first time was one of those unexpected pleasures you dream about. From his entrance through the moving finale, Mr. Philip's voice shone with a heldentenor ringing brilliance, but also possessed a delicious warmth that had me - literally - on the edge of my seat. Rare is the last minute replacement who can create so vivid and haunting a character as Paul, but we heard and saw just that last night . 

His work clearly was inspired by his "other half" in this tale, soprano, Christine Goerke whose performance was simply (or not so simply) magnificent. Marietta is a complex character offering vocal and dramatic challenges, but Goerke's performance while gloriously natural and spontaneous, also revealed - and revelled in - the preternatural world of Paul's deceased wife, Marie.  Goerke's Marietta also brought out the darker moments chillingly, responding brilliantly to both the real and dream worlds inhabited by Paul. 

Korngold gives Paul and Marietta a diverse range of scenarios from flirtatious and playful (though playful is not an adjective that remotely describes Paul) to ecstasies both passionate and dangerous. Ms. Goerke and Mr. Butt Phillips electrified the audience throughout.

Karen Cargill was luxury casting as Briggita, proving the adage, "there are no small parts."  She was joined by the elegant Frank of Elliot Magore, whose beautiful voice was, unfortunately at times drowned by the enthusiasm of Maestro Nelsons and the band. The excellent company comprising Marietta's theatrical troupe featured vivid, energetic performances from Amber Monroe, Elisa Sunshine, Neal Ferreira, and Joshua Sanders that brought the troupe to life.  

Korngold's score is a miracle of sound and effects making huge demands on a huge orchestra. The complexities of sound which shift between scenes of realism bending to trancelike delirium are ever breathtaking offering both sheer excitement and breathtaking pathos. It's nearly impossible to consider Die Tote Stadt premiered (simultaneously, in two cities) when the composer was but 23 years old. He'd begun working on it at age 19, but had to stop after, you know, being drafted to fight in WWI. 

Andris Nelsons chose Korngold's opera as one of the works to celebrate his tenth anniversary with the company, and we can only say thank you, Maestro!  It was absolutely clear how much Nelsons adores this work as he lavished every moment of it with passion that could sometimes overwhelm the singers. Indeed, there were several moments my ear strained to make sure I was hearing them.  How fortunate we were to be blessed with a cast where, aside from those few times, were able to ride on that enormous cloud of sound. Adding to the gorgeous aural tapestry were the beautiful contributions of the joined choruses from Tanglewood Festival and Boston Lyric Opera Choruses, and the always delightful boys from St. Paul's School Choir.    

At its heart, Die Tote Stadt is ultimately a tale of loss and acceptance, and while its score is a circus of sound, running the gamut from the carnival-like to hauntingly melancholic, the libretto (written by Korngold and his father, collectively under the pseudonym "Paul Schott")  provides the composer a text that allows its characters - and us - to explore how death, loss, grief and acceptance affects each of our lives. That's a lot to ask from an opera, but the young Korngold delivered. Big time. 

At its conclusion there were few dry eyes around me, as the spell remained unbroken of what we'd all just witnessed, blessed with what felt like an eternity of silence before an ovation of madness ensued. Yeah , it was one of THOSE nights.