Anthony Tommasini

How will performances feel in the midst of pandemic regulations? Will institutions respond in actions, not just words, to calls for racial equity?

The company’s first performance inside its theater since March 2020 was an inspired rendition of Verdi’s Requiem.

She took on a wide range of roles in her long international career, which included a stretch as a stalwart of the Metropolitan Opera in the 1970s.

The pandemic forced the company outdoors and to trim staples by Verdi and Mozart. Our critic found the experience to be ripe with potential for drawing in new audiences.

The center’s summertime music series has a limited outdoor run this week.

Teatro Nuovo’s “Barber of Seville” was the first full-scale live performance in the city since before the pandemic.

Superb singers and a clear production make a strong case for Ernest Chausson’s seldom heard “Le Roi Arthus.”

The performance, by the Orchestra of St. Luke’s, felt like normal again, while the music looked back on a year of upheaval.

Ms. Rolandi, an acclaimed Vixen and Lucia, made her mark at the New York City Opera and the Lyric Opera of Chicago.

As Marin Alsop leaves the Baltimore Symphony after 14 years, the field is taking a step backward: 25 major American orchestras, no female music directors.

Although much is known about Beethoven, whole swaths of his life remain elusive. His deafness, for one thing. He started experiencing hearing loss before he was 30. But how extensive was the initial problem? How quickly did it worsen? It’s not clear.

Ruth Padel tells the great composer’s life story, more profoundly than most biographies, in “Beethoven Variations.”

The pianist Stewart Goodyear plays the standards brilliantly, and also writes music that nods to rock and calypso.

He had no opera experience when he was chosen to run the Glimmerglass Opera in upstate New York; 17 years later, he took on City Opera during a difficult period.

The company’s continuing labor tensions hovered over two consoling concerts featuring its orchestra and chorus.

With “Inventions/Reinventions,” Dan Tepfer fills out Bach’s missing two-part inventions with daring free improvisations.

A box set of recordings pairs Stravinsky, 50 years after his death, with the conductor who championed his works.

Mr. Lambrinos sang performances at the Metropolitan Opera and was a stalwart of New York Grand Opera. He died of Covid-related pneumonia.

This classical superstar, just named as the Paris Opera’s next music director, isn’t the first maestro to jump to the theater.

Three recent recordings conjure the mid-20th-century moment when the city was a center of innovative composition.