Chicago – Gathering Note

Four Bruckner concerts and one conclusion

Anton Bruckner has never resonated with me the way Mahler has. I don’t seek out his symphonies with any particular enthusiasm. When the mood strikes, I’ll put on a recording and settle into my listening chair, letting the music unfold. Friends speak of transcendence; I’m still trying to find my way in. Yet even if Bruckner has not quite claimed me, my relationship with him has been shaped less by the scores themselves than by the circumstances in which I’ve encountered them. In the few times I’ve heard Bruckner in concert—only three over many years—each performance has stayed with me for reasons that extend beyond the music.

The first was Kurt Masur’s Seattle Symphony account of the Fourth Symphony, which arrived during a crisis moment for the orchestra, with musicians and administration locked in a bitter contract negotiation. Masur’s presence steadied the ensemble, drawing out playing of real warmth and authority; the performance felt like an act of institutional reassurance as much as musical interpretation. A few years later in Minneapolis, I attended what turned out to be Stanislav Skrowaczewski’s final public concert: a compelling reading of the Eighth that ranks among the most engaging concert experiences I’ve had. The lobby that evening was bittersweet—staff were selling off overstock of Skrowaczewski’s recordings. His iconic Vox albums and copies of his celebrated Bruckner Ninth with Minnesota spread across tables while staff shared anecdotes of the man they knew as “Stan.” I’ve wondered since whether he knew it would be his last appearance.

Against that backdrop, my most recent Bruckner encounter carried a different kind of significance. The Berlin Philharmonic brought the Fifth Symphony to Chicago as part of their U.S. tour, and the atmosphere of the night was driven as much by the presence of the Berliners as by the score itself. This was a case where the orchestra’s superlative playing elevated music that doesn’t fully connect with me. I’ve now heard the Berlin Philharmonic twice at Orchestra Hall; both times their sheer quality has made me want to hear them in Berlin.

Liszt and Brahms become a refuge in Kirill Gerstein’s Chicago recital

Moments before Kirill Gerstein took the stage Sunday afternoon at Orchestra Hall, the sounds of the city were not those of a typical pre-concert bustle. Along Michigan Avenue, marchers were demanding accountability from ICE for the killing of Alex Pretti in Minneapolis. I’ve seen plenty of protests over the years; I remember Occupy Wall Street supporters taking over a community college campus near my Seattle apartment in 2011, and the summer of 2020 when the Capitol Hill Occupied Protest (CHOP) was established in the heart of Seattle’s Capitol Hill neighborhood in the wake of George Floyd’s murder.

Yet, I cannot recall a moment where the two disparate parts of my life — politics and music — came so close to intermingling. For a brief time, I questioned whether I should abandon Gerstein’s recital to join the march for the justice and fair treatment that remains so elusive in 2026.

Waiting for summer and the Grant Park Orchestra

It is cold in Chicago—objectively, adamantly cold. An Arctic front has settled over the city, wrapping it in a willful chill. I find myself staying indoors as much as possible, venturing out only tomorrow to Symphony Center to hear Kirill Gerstein in the SCP piano series. Gerstein has long struck me as a connoisseur of the recondite and the new. His recording of Busoni’s Piano Concerto remains a marvel, and he has been a tireless champion of Thomas Adès. To encounter him in a more traditional program of Liszt and Brahms promises a kind of illumination, the way a familiar landscape can appear unfamiliar when seen from a different vantage point.

The cold has also given me time to begin The Brothers Karamazov as part of my Lenten preparation. Lent is still weeks away, but I read slowly, and the novel’s sprawl requires an early start. In the same unhurried hours, I have finally studied the Grant Park Music Festival’s summer lineup. Summer seems impossibly distant amid the present freeze, but its promise already feels restorative. Giancarlo Guerrero, now in his second season as artistic director and principal conductor, has assembled a season of considerable ambition.

Chicago Symphony spotlights Julia Bullock in world premiere of Matthew Aucoin’s Song of the Reappeared

On a September morning in 1973, Chile’s turbulent political reality pivoted into a nightmare, with a coup that brought General Augusto Pinochet to power inaugurated nearly two decades of repression. For many Chileans, the brutality unfolded in darkness. Secret police agents arrived at homes in unmarked cars. People vanished from doorways and street corners, becoming rumor. Some were taken to clandestine detention centers, interrogated, and tortured. Many were killed, their bodies discarded in rivers, lakes, and mass graves, or pushed from helicopters into the Pacific. It was terror designed not only to erase opponents but to erase evidence of their existence.

Medea delivers an unforgettable experience at the Lyric

I had hoped to write something longer about Medea, which opened a week ago at the Lyric Opera. Time and circumstance have conspired against me, but this production demands to be acknowledged, even if briefly. Suffice it to say, the performance and production is not to be missed.

Luigi Cherubini’s Medea remains one of opera’s most unjustly neglected masterworks. A magnificent, proto-Romantic affair that bridges classical restraint with the full-throated passion that would define the nineteenth century. The score crackles with intensity, its dramatic architecture built on a foundation of inexorable tension that tightens with each scene until the inevitable, devastating conclusion. It’s a work that demands everything from its performers, particularly its title role.

Sondra Radvanovsky rises to meet those demands with a performance that can only be described as revelatory. She is one of the most dynamic, emotional singers on stage today, and her portrayal of Medea’s descent from wounded dignity to vengeful fury is nothing short of mesmerizing. Her voice carries the full weight of Medea’s rage and anguish yet never sacrifices beauty for dramatic effect. This is singing that cuts to the bone.

Equally crucial to the evening’s success is the presence of conductor Enrique Mazzola, a committed advocate for this work who understands its every contour. Under his baton, the Lyric Opera Orchestra played with a precision and fervor that matched the intensity unfolding onstage. The production itself serves the opera well, allowing the drama to unfold with clarity and power.

It all adds up to the most memorable opera experience for me of the last five years. If you have any opportunity to see this production before it closes, seize it. Performances of this caliber are rare, and Medea is an opera that deserves to be experienced in the theater, where its full power can be felt. The Lyric has given us something special.

Here is a roundup of critical opinions.

Jordan and Hadelich lead the Chicago Symphony through its repertoire sweet spot

Not long ago, while spending a week in New York, I found myself walking through Central Park after a concert by the New York Philharmonic, wondering which composers belong to which American orchestras. It is a parlor game without definitive answers – New York might claim Gershwin or Ives – but Chicago’s answer came to me immediately: Brahms. Or, more broadly, the music of Central Europe. The Chicago Symphony Orchestra’s history is inseparable from the great European Classical and Romantic traditions, shaped by towering figures like Fritz Reiner and Georg Solti. When the orchestra recently offered an evening of Kodály, Dvořák and Brahms – works squarely in its wheelhouse – the performance felt like a homecoming.

In Chicago, a new venue makes its case with Hickey’s audacious piano work Sapiens

Chicago has no shortage of performance spaces, but none quite like The CheckOut. Housed in a former 7-Eleven on Clark Street in Uptown, the venue opened its doors September 12th under the stewardship of Access Contemporary Music. In just two weeks it has already staked its claim as one of the city’s most intriguing cultural outposts. The inaugural festival gave a sense of the possibilities: two sold-out nights devoted to Arvo Pärt’s hushed mysticism, the Black Oak Ensemble channeling Studs Terkel’s working class ethos, chamber music turns from the Palomar Trio and Kontras Quartet, and, finally, Wicked Drawl—a band that refuses genre with a gleeful mash of cabaret, country, classical, and jazz.

Fall highlights from Chicago’s 25/26 classical music season

Labor Day has passed, taking with it the last illusions of summer leisure. What follows, as reliably as the shortening days, is the arrival of a new classical music and opera season. Chicago’s 2025–26 offerings promise the usual abundance of repertoire and revivals, along with a handful of events that seem more like occasions than routine schedulings.

Conrad Tao and Catalyst Quartet, Nova Linea Musica – September 10; December 3

In its second season, Nova Linea Musica continues to make the case that contemporary music deserves a place not at the margins but at the center of Chicago’s concert life. The opening recital belongs to Conrad Tao, a pianist who has built his career less on institutional endorsements than on his own iconoclastic instincts. Tao programs like someone unwilling to pander: a premiere by the Chicago composer Chris Mercer, a piece of his own, and music by Jürg Frey and Ben Nobuto suggest he’s more interested in probing the present than reassuring the past.

Experience Handel’s Water Music on the Chicago River

After last year’s debut, Music of the Baroque is bringing back The Chicago Water Music to the Chicago River on Wednesday, September 10th. Dame Jane Glover will once again lead the ensemble from aboard the “Bright Star” as it travels from Ogden Slip to Merchandise Mart, but this year comes with an ambitious new twist: a citywide singalong.

The program follows the same winning formula: highlights from Handel’s Water Music and Music for the Royal Fireworks, plus choral favorites, but adds “Hallelujah, Chicago,” inviting the entire city to join in singing the “Hallelujah” Chorus from Messiah.

Jaap van Zweden returns with a blazing Mahler Sixth

Jaap van Zweden returned to Orchestra Hall this week to lead the Chicago Symphony Orchestra in two commanding performances of Mahler’s Sixth Symphony. Whether by design or coincidence, this symphony has become something of a calling card for the Dutch maestro during his visits to Chicago. Van Zweden was on the podium the last two times the orchestra played the piece, and this time he not only led the work at home, but will also take it on tour to Amsterdam for the third Mahler Festival.

Mahler’s Sixth has long been shrouded in biographical myth—its popularity fed by the image of the composer as a death-haunted artist. This lens, while perhaps oversimplified, finds a potent anchor in the work’s unsettling musical language. The mythology would be nothing without the work’s infamous hammer blows in its final movement—strikes that have become almost synonymous with Mahler’s fatalism.