Soprano Gelsey Bell instilled a very human spirit into the role of the troubled widow. The decidedly formal Jeffrey Gavett was well cast as the dead man. Their duets rang with perfection.
Cage hoped that the change from “pinch-penny mental attitudes to courageous wastefulness” would become as prevalent in the arts as it is in nature. Along those lines, his late choral music is spare, seemingly simple: quiet, almost fragile sounds scattered over silences.
