Commentary: The emergent paradigm of inclusion, this new arts-wide acknowledgement of stage and concert hall as Everyperson’s forum and welcoming agora for all who wish to assemble there, was on manifest display in recent Chicago Symphony performances at Orchestra Hall. The repertoire showcased its fresh profile in brave new works or just unusual music by a broad range of composers, served up by a wide spectrum of artists. It was a mix highlighted by the CSO subscription debut March 23-26 of an elegant veteran, the African American conductor Thomas Wilkins.
Review: Two warring concepts shape and drive Bizet’s opera “Carmen” – love and death. Or in French, l’amour and la mort, the one word formed as if entirely by the lips, the other resonating from somewhere deep in the back of the throat. Love, in the earthy and precarious world of the gypsy Carmen, is transitory, a placeholder, an article as disposable as life itself. But death, this thing that wells up from so deep a place in speech, is profound and inevitable, the single eternal verity. Both musically and dramatically, Lyric Opera of Chicago’s busy and vibrant “Carmen” wants the depth and darkness that mark this work as the prototype of verismo opera. ★★