Joshua Barone

The Glyndebourne Festival, which receives little government support, has been mostly immune from recent convulsions of the opera industry in Britain.

Greenwell’s “What Belongs to You” reaches the opera stage with a team that includes the composer David T. Little and the director Mark Morris.

“Indra’s Net,” coming to the Park Avenue Armory, shows off the polymathic Monk’s artistry as she enters her 60th season as a performer and creator.

Jeanine Tesori and George Brant discuss the first time they heard “Grounded,” and how they instantly knew what they would change for the Met.

As subscriptions face an uncertain future, classical music could look to the membership models of streaming services and gyms for inspiration.

For Richard Pevear and Larissa Volokhonsky, translating together extended naturally from their relationship as husband and wife. Now, it is their life’s work.

The Salzburg Festival is synonymous with excellence and fame. But it’s also a place where artists on the cusp of stardom can shine.

Salonen, who will soon be a free agent for the first time in decades, could do pretty much anything at this stage. What will it be?

Over 25 years, through crises and a changing world, Michael Haefliger has made the Lucerne Festival in Switzerland as we know it.

With an opera at the Salzburg Festival and recordings on Deutsche Grammophon, the music of Mieczyslaw Weinberg may be taking root.