Remember what Neo Muyanga, who could tell whether he was going to like an opera within the first sixteen bars, said about closings? The second-most-important part of the opera is the “final four pages of the score.” He explained: “This is where the composer must have, once and for all, justified the first notes sung and played by the ensemble and where the conductor needs to push the entire alternate universe—the one that has recently been magically conjured up—over the edge of the abyss,
