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Drucker brought exquisite lyricism to the quartet’s most recognizable fifth movement, “Cavatina.”

For both, he put together a retrospective of some of his personal favorite pieces spanning his career from his first singing lessons to his time at the national opera, including “Papageno” from “The Magic Flute” and “Cavatina Figaro” from the “The Barber of Seville.”

Especially in our current climate of upheaval and uncertainty, I choose the Cavatina from the late Op.

Proof: a Cavatina that sings with divinity and yet with humanity; that neither wallows in beauty nor looks the other way; that, put frankly, is eight perfect minutes.

The Cavatina of Opus 130 is steeped in unaffected Old World style, with throaty portamento slides from note to note.