A man and a woman fall in love: of all operatic clichés, this is surely one of the most perennial. However, even before the curtain was raised at the Deutsche Oper, there were indications that there was much more to Heart Chamber than this simplification might suggest. Indeed, the trajectory of Chaya Czernowin's previous three operas, beginning with Pnima … Ins Innere (1998–99), followed by Zaïde / Adama (2004–05) and most recently Infinite Now (2016), which was reviewed in issue 282 of this publication, shows that this is a composer who seeks to explore and question the very nature of opera whenever she works within the genre.

中文翻译：

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Chaya Czernowin，心室，柏林德意志歌剧院，2019 年 11 月 15 日。

一个男人和一个女人坠入爱河：在所有的歌剧陈词滥调中，这肯定是最常年的一种。然而，甚至在德意志歌剧院拉开帷幕之前，就有迹象表明还有很多事情要做心室比这种简化可能暗示的要多。的确，查亚切尔诺温之前的三部歌剧的轨迹，从Pnima … Ins Innere（1998-99），其次是扎伊德/阿达玛(2004–05) 和最近现在无限（2016 年）在本出版物的第 282 期中进行了评论，表明这是一位作曲家，每当她在该流派中工作时，都会寻求探索和质疑歌剧的本质。