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At the duet’s oblique mention of the Forbidden Fruit, Kalmar edged the orchestra into a scampish buffa accompaniment that made playful light of the section’s dramatic irony. Their voices - his mild and earthy, hers crystalline and agile - enmeshed gorgeously in their big love duet (“Graceful consort! At thy side”), though the preceding recitatives (“Our duty we performed now”) managed to surpass it in tenderness. On the whole, bass-baritone Douglas Williams and soprano Maeve Höglund donned their later roles as Adam and Eve more sensitively and vulnerably than their archangel alter egos. The “and there was light” moment that usually blasts out the eardrums resonated mightily through consonance and gesture, rather than sheer force. Music director Carlos Kalmar’s vision seemed to lift its eyes to us here on Earth instead of the heavens, his “Creation” sonically lithe yet unafraid to show a little interpretive spunk. It didn’t swing its weight around, as you hear in some wall-rattling interpretations of this work, but it also didn’t attempt the mannered grandeur of period performances. The Grant Park Music Festival’s “Creation,” which closed the summer season on Saturday in its German version, was also a capital-R Romantic endeavor.