Gustavo Dudamel’s “Carte Blanche” concerts often problematize the contamination of all music by opera. I use “contaminate” in the best sense, since opera, according to Matthew Aucoin, has the capacity to aggregate and change all the arts involved in its making: theater, music, literature, and visual arts: they will never be the same. The latest “Carte Blanche” concert was sold—auspiciously—as {…}