Their duet, "This Time of Year," is just right for, well, this time of year.
Then Mr. Martins puts it into another duet, this time in profile.
The second act consists mostly of reprises of numbers that weren't much to begin with, a duet called "Time to Go" revisited in differing forms not once but twice, as if to drum into our heads the news that the revelry has ended.
The section addressing God as Father and Son is again a duet, this time of soprano I and tenor.
The belief in Jesus Christ begins with "" (And in one Lord), another duet, this time of soprano and alto, beginning in a canon where the second voice follows the first after only one beat.
Sutherland sang this duet many times with her friend the mezzo-soprano Marilyn Horne.
(I for one would not have wanted to miss Framlingham's Sheeran sing gravely about street life in their duet Dark Times).
Their movement phrases are similarly stop and start, so that the duet at times seems like two separate conversations and at others like two people talking over each other, with only occasional moments of real communion.
Heterosexual duets many times are boring for me.
Here the dancers are soloists who sometimes meet for duets; at times it's Ms. Whelan who seems needy, vulnerable, studentlike.
