Billed as a new opera, The No One’s Rose has been described as “an undefinable hybrid of music, poetry, theater, and dance,” and that’s okay—the genre is infinitely elastic. The project began when a phenomenal cohort of creatives joined forces to develop an experimental meditation on loss, guided by the hermetic verse of the Holocaust survivor Paul Celan. Then came the coronavirus, and it mutated, in the words of the director Zack Winokur, into “a kind of Canterbury Tales of the pandemic, [delving] into the life experiences of the individual performers, musicalizing and theatricalizing them—telling people’s stories in a time of displacement and floating and uncertainty.” Two entities share top billing: the trailblazing American Modern Opera Company, consisting of Winokur, the composer-conductor Matthew Aucoin, and the singers Julia Bullock, Anthony Rolfe Costanzo, Paul Appleby, and Davóne Tines; and the Philharmonia Baroque Ensemble & Chorale, under the musical direction of Richard Egarr. No virtual version has been announced, but we’re counting on one. The times demand it. —M.G.