Phalanxes of woodwinds, organs, and voices pulse through Philip Glass's most famous opera like nothing so much as a migratory flock engaged in acrobatics overhead. There is no center to the kinetic activity; the down beat might shift, in split-second hindsight, to the up beat, and the synthesizer might suddenly upstage the libretto of nonsense syllables. The exuberant cacophony of overlapping ...