I don’t need to remind you that the eight opening notes to Beethoven’s Symphony no. 5 are famous—perhaps even the most famous—in the entire genre we call classical music. But I do need to tell you that you haven’t heard them yet, at least not like the Chicago Symphony Orchestra under Maestro Riccardo Muti interpret them. Audiences on Thursday and Saturday had the privilege, and if you want to do yourself the biggest favor of the regular concert season (just in the nick of time as it wraps up) you will buy yourself a ticket for this Tuesday night, June 19th. It doesn’t matter where you sit—just be there.

Chicago Opera Theater is currently presenting Handel’s Teseo, which concludes their “baroque trilogy devoted to the exploration of operas with Medea as a central character.” Previous installments were Cavalli’s Jason, and Charpentier’s Medea. In the interest of this review, it will suffice to note the work’s central plot is defined by Medea’s (Renée Tatum) desire for Teseo (Ceclia Hall), her jealousy for the love Teseo shares with Agilea (Manuela Bisceglie), and her manipulation of the king Egeo (Gerald Thompson) to attempt to get her way—i.e. marriage with Teseo and disposal of Agilea. Supporting characters include Clizia (Deanna Breiwick) and her lover Arcano (David Trudgen). Those interested in a full synopsis may find it available through the Handel House.

A boutique crowd of half capacity greeted the Australian Chamber Orchestra and American soprano Dawn Upshaw this past Sunday afternoon at Orchestra Hall. Those fortunate enough to attend were rewarded with a series of impeccable performances with repertoire spanning two centuries.

Last year the University of Chicago conferred upon Russian/Tatar composer Sofia Gubaidulina (b. 1931) an honorary doctorate—making her the first composer to be given such an honor by the University. This past Wednesday night at Harris Theater the University of Chicago’s Contempo ensemble (this city’s venerable 46 year-old new music group) presented a program devoted exclusively to Gubaidulina’s works. In her opening statements, Shulamit Ran, Artistic Director of Contempo and faculty member at U of C, explained the evening was originally meant to culminate in a world premiere. However, due to persistent health issues the composer found it necessary to postpone the completion of her new piece for the ensemble entitled A Pilgrimage of Four. Instead, Ran and Gubaidulina selected other works from her oeuvre as substitutions.