Joshua Barone

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

Opera Montana, a small company that has grown recently, presented its first world premiere, based on one of the state’s most beloved stories.

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

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.