In a rave review, The New York Times's Josh Barone names HILDEGARD, which premiered this week with LA Opera at the Wallis Theater, a Critic's Pick. Barone writes:

"Sarah Kirkland Snider’s gorgeously mesmerizing first opera has both focus and a thematically expansive view of a moment in medieval history…

“Snider, writing both her first opera and libretto, smartly focuses on a pivotal moment when Hildegard was seeking papal imprimatur for her visions, while falling in love with Richardis von Stade, the troubled woman who helped illustrate them…But like Hildegard, the opera contains much more. Snider touches on themes of feminism, shame, sexual violence, chronic illness, faith, eroticism and the healing power of art, but never ponderously or too explicitly. She has accomplished a marvel of abundant grace, a work of unforced, almost overwhelming resonance.”

The sound of “Hildegard” is quintessentially Snider’s, with a surface level of seductively lyrical melodies and an undercurrent both lush and tautly crafted. Her vocal lines breathe naturally, over glassy strings and arpeggiated harp phrases, whose dreaminess is repeatedly punctured by pulsating rhythms reminiscent of Steve Reich…

Snider’s libretto isn’t remarkable as poetry, but it sings remarkably well. This may be her first opera, but she is a seasoned writer for voice who can find real beauty in the sometimes awkward contours of the English language…

Snider has said that she borrowed a bit from Hildegard’s musical compositions, but indirectly. While she nods to medieval music...she maintains the radiant color of her own sound throughout.

Both Hildegard and Richardis are soprano roles, though with crucial differences… Together, their lines blended with Straussian elegance, their affection for each other matched by Snider’s for their sound.”

‍