It is rather easy to find operas dealing with religious persecution, ideological conflict, and personal struggles. From well beloved 20th century examples like Messiaen’s “Saint François d’Assise” (1975-79), Britten’s “The Prodigal Son” (1968), and, my personal favorite, Poulenc’s “Dialogues des carmélites” (1956), to revolutionary works like Strauss’ “Salome” (1905), Hindemith’s “Sancta Susanna” (1921), and Schoenberg’s “Moses und Aron” (1932), the {…}