Corinna da Fonseca-Wollheim

The chef and owner of Noma, the acclaimed Copenhagen restaurant, wants to engage all the senses.

After challenging the Dutch musical establishment as a young man, he went on to write a series of large and loud symphonic works that grappled with big ideas.

“When We Cease to Understand the World,” by Benjamín Labatut, considers the fine line between the brilliance and darkness of human advancement.

In “Every Good Boy Does Fine,” the concert pianist recalls his artistic and erotic awakening.

An artist refashions herself amid personal and global crises in Deborah Levy’s new novel, “August Blue.”

Women in the industry are speaking out about what they feel are cancellations motivated by their appearance rather than sound, even as there is a belief that pregnancy and childbirth have positive effects on the voice.

In Shakespeare, music is an integral part of the action. But the First Folio, which turns 400 this year, failed to transmit how it should sound.

The British director Carrie Cracknell’s production, opening on New Year’s Eve, resists the idea that the opera’s climactic scene is a crime of passion.

The New York Philharmonic under Matthias Pintscher brought dramatic urgency to “Pelleas und Melisande” in commemoration of the composer’s 150th birthday.

“The Other Side of Silence,” a new work in development, is experimenting with giving operatic voice to a text-to-speech synthesizer.