内容摘要：Local health officials said the child did not have underlying health conditions and died of “what the child’s doctor described as measles pulmonary failure.” A unvaccinated

Local health officials said the child did not have underlying health conditions and died of “what the child’s doctor described as measles pulmonary failure.” A unvaccinated

“I really did think they were joking,” she recalled. “My colleague, Christopher Ventris, said, ‘No. No. They’re not joking. You have to be careful.’”Stemme went home to Sweden, considered the offer with vocal coach Richard Trimborn and made her Isolde debut on May 19, 2003, at the Glyndebourne Festival with Robert Gambill as Tristan and Jiří Bělohlávek conducting. She chose to sing her final two Isoldes 22 years later with the Philadelphia Orchestra and music director Yannick Nézet-Séguin, who conducted the opera for the first time on June 1 and coaxed a luminous rendition from a premier orchestra at its peak.

“I’m 62 now. I gave it to my 60s to sing these big roles and now I’ve dropped Elektra and Brünnhilde, and Isolde is the last daughter on stage that I’m singing,” Stemme said. “I decided this years ago. This is how it works and every year that I was able to sing Isolde feels like a bonus and a privilege.”Stemme was friends with Birgit Nilsson, one of the greatest Isoldes and Brünnhildes, who died in 2005 at age 87.“I was on the verge to go down to her in south Sweden to study Isolde but of course me as a young singer with little kids at home, I never felt ready,” Stemme said. “At that time when we got to know each other, I was singing mostly a lyric repertoire.”

Skelton sang with Stemme in Wagner’s “Der Fliegende Holländer” at the Vienna State Opera in 2004 and his Tristan was paired with Stemme’s Isolde in New York, Munich and Naples, Italy.“It’s as radiant now as it was when I first heard her sing it in Glyndebourne way back in the day,” he said. “No one knew really who Nina Stemme was to a certain extent. Certainly I don’t think anyone was ready for what she brought to Isolde even then.”

Nézet-Séguin first worked with Stemme in a performance of Wagner’s Wesendonck Lieder with the Royal Stockholm Philharmonic Orchestra in 2007, didn’t collaborate again until performances of Strauss’ “Die Frau ohne Schatten” at the Met last fall.

“The breadth of her experience with the role is just guiding all of us, me, but also the orchestra, who is playing it for the first time in understanding the flow of the piece, understanding their shades and the colors, and that is invaluable,” Nézet-Séguin said of Stemme’s Isolde. “It was wonderful for me to benefit from it.”Both Bareilles and Keenan-Bolger are involved with the Gavin Creel Fellowship, an initiative that plans to provide $25,000 grants to five emerging theater actors each year.

Sarah Bareilles and host Cynthia Erivo perform “Tomorrow” during the in memoriam segment (Photo by Charles Sykes/Invision/AP)Sarah Bareilles and host Cynthia Erivo perform “Tomorrow” during the in memoriam segment (Photo by Charles Sykes/Invision/AP)

The final award had been announced— best musical to “Maybe Happy Ending” — and the audience started to disperse. But Erivo had another idea.