Joshua Barone

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.

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

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

The Bayreuth Festival, where Wagner’s operas have been performed for 150 years, is inconvenient and unpleasant. Why does it have such a hold on us?

Ted Huffman, an American director with a collaborative and exploratory spirit, has taken over the Aix-en-Provence Festival in France.

Hisaishi, cuya obra ayudó a definir la sensibilidad de las películas de Miyazaki, está redirigiendo su carrera hacia conciertos y grabaciones con grandes orquestas.

Tennessee Williams’s darkly operatic one-act play becomes a proper opera in a new adaptation by the composer Courtney Bryan.

Joe Hisaishi got famous writing the soundtracks to Hayao Miyazaki’s Studio Ghibli films. Now he is focusing on his first love: classical music.

“Die Frau Ohne Schatten” is a difficult opera for any conductor. Klaus Mäkelä chose it for his first new production, in front of a global audience.

Kaija Saariaho’s final opera, a premiere by Ellen Reid and a multitasking performance by Barbara Hannigan are among the highlights.