South Korean pianist Seong-Jin Cho mesmerized, enchanted, and levitated off the bench for an electric performance.

Gustavo Dudamel, settling in at the New York Philharmonic, led a world premiere by Tania León and Mahler’s Fifth Symphony.

Marc Minkowski, the company’s newly arrived second-ever music director, brought a theatrical streak to Haydn’s secular oratorio.

Musgrave, whose 1977 opera “Mary, Queen of Scots” is opening at the San Francisco Opera, has spent a long career searching for the “dramatic abstract.”

Quinn Kelsey commandingly charts each step in Macbeth’s decline in Louisa Proske’s postapocalyptic setting of Verdi’s opera, which opened the Metropolitan Opera’s season.

For 10 years Jennifer Koh struggled to understand and treat a rare neurological disorder, while trying to maintain a full calendar onstage.

The rising director Louisa Proske makes her Metropolitan Opera debut with the season-opening “Macbeth,” a large-scale production that came with a ticking timer.

The atmosphere is still heated at Symphony Hall, and it showed (for better and worse) in the opening night concert.

Missy Mazzoli, whose “Lincoln in the Bardo” opens at the Metropolitan Opera this fall, writes politically urgent, musically eclectic works for a new generation of operagoers.

The creative, conductorless string orchestra A Far Cry and pianist Simone Dinnerstein bring a whole new vibe to the Bach masterpiece in a performance this weekend.

The New York Philharmonic’s season started with a barnstorming tour of Manhattan to celebrate Dudamel’s arrival as music and artistic director.

Boston Ballet’s “Fall Experience 2026” offers a preview of the program the company will take to the Théâtre des Champs-Élysées in Paris next month, on its third tour to the City of Light: Alexander Ek...

“Stunning music will always attract audiences,” says the new leader, who took over in August and hopes to help listeners see themselves in unfamiliar music.

Verdi’s Requiem out of Cleveland, Missy Mazzoli’s “Breaking the Waves” out of Houston and a fresh approach to art song are among our selections.

Tippet Rise Art Center in Montana offers concerts in surroundings that make you feel as if you’re listening inside the land rather than around it.

The troupe is hitting the road, but first, performances at the Citizens Opera House.

‘Latin music isn’t a genre; it’s a conversation about identity happening in real time, across borders and across cultures.’

Also this season, the Berlin Philharmonic comes to Carnegie Hall, “Lincoln in the Bardo” arrives at the Metropolitan Opera and dueling “Toscas.”

Anderson’s importance as a barrier breaker in classical music has sometimes overshadowed the power of her artistry.

What the BSO can learn from a small symphony that wants to expand its audience.

With a global audience, Ma models a way of being that goes against the grain of cynicism, polarization and isolation. It’s up to us to pay attention.

Sarah Davachi’s “The Will of Tongues” is a collection of music that refuses extremes and requires undivided attention.

The contract, which was negotiated amid deep divisions following the dismissal of music director Andris Nelsons, represents several big wins for musicians.

Jazz is at the center of his artistry, but he is also known for haunting innovations with pop music. In Boston, he’ll play with a chamber orchestra to perform songs from his album “Ride into the Sun.”

Exhausted by a summer of drama, a shortened season, and tense contract negotiations, the orchestra pulled off a moving Tanglewood finale.

Details were scarce, but the parties appear closer to a deal.

There was nothing "Wicked" about this performance. Instead she sang what she wanted to, mostly tunes from American songbooks of the ‘60s through early ‘90s.

The vote, which comes just before their current contract expires at 11:59 p.m. Sunday, does not immediately call for a strike.

Curtis Stewart’s “24 American Caprices” are an answer to Paganini’s classic set. And they are already taking hold with musicians.

Joseph Havlat’s thoughtfully programmed “Sinner, Don’t Let This Harvest Pass” spirals out from Schumann’s enigmatic “Ghost Variations.”

While his “We the People” residency included several intriguing programs, it stumbled under the weight of its all-encompassing ambitions.

The composer Missy Mazzoli, driven by personal loss, has turned America’s overdose epidemic into a dark, fantastical allegory.

Jonathon Heyward, who leads the Festival Orchestra of Lincoln Center, conducted two concerts that put new music in conversation with classics.

Franz Welser-Möst, the Cleveland Orchestra’s music director, takes us on a tour through the handwritten score of Mahler’s “Resurrection” Symphony.

As the Bayreuth Festival celebrates 150 years, Wagnerians from around the globe brave heat, hard seats and a complex history for a unique music tradition.

Generations on, Lorenzo Da Ponte’s family keeps alive the memory of this poet and libertine, who ended up in the middle of Pennsylvania after being booted from Venice and Vienna.

Even with tension as a backdrop at BSO’s summer redoubt, “The Marriage of Figaro” was as good as opera in the Shed ever gets.

It’s called International Moves and Food, and each week features professional teaching artists introducing participants of all ages to a different style of dance.

The ensemble plays at the DCR Hatch Shell many Wednesdays during the summer.

The Boston Symphony Orchestra’s summer home looks placid on the surface, but underneath the organization is waging war on itself.

The multi-pronged events celebrate a variety of art forms from around the world and across the centuries.

The annual summer festival features music performed on period instruments.

Citing a family medical matter, the embattled BSO leader backed out of the Tuesday lunchtime talk, which will be replaced by a conversation between two composers.

Philharmonia Baroque Orchestra came to Caramoor with Handel’s “Tolomeo,” a far-fetched opera seria with a lively score.

Ludwig Göransson’s soundtrack for Christopher Nolan’s film resurrects an ancient instrument, the aulos, to evoke the tormenting allure of the sirens.

Whether worn by orchestra members or listeners in the audience, red flowers are being used to express support for departing music director Andris Nelsons amid the BSO's ongoing crisis.

The Marlboro Music festival, now in its 75th summer, allows artists to practice for however long they’d like, with no pressure to perform.

When violinist Keila Wakao makes her Tanglewood debut with the BSO, her number one fan — her father, Keisuke Wakao — will be supporting her from his usual seat in the BSO’s oboe section.

The fight over the future of a preeminent orchestra is not going well.

The gorgeously renovated Hunter Pavilion at Ravinia, the Chicago Symphony Orchestra’s off-season home, was inaugurated with a gala last weekend.