Oussama Zahr

Quinn Kelsey commandingly charts each step in Macbeth’s decline in Louisa Proske’s postapocalyptic setting of Verdi’s opera, which opened the Metropolitan Opera’s season.

With ambition that exceeded its grasp, the orchestra performed Puccini’s “Il Trittico” ahead of the center’s expected closure.

Kevin Puts’s song cycle “Emily — No Prisoner Be” was brought to life by Time for Three and Joyce DiDonato in its New York premiere at Carnegie Hall.

The singers did marvelous work at the Opéra Bastille in Paris, where the director Calixto Bieito’s new staging takes place in a hellish dystopia.

Holiday, a countertenor, has forged a career that blends classical repertoire and his upbringing in church and pop music.

The director Jean-Romain Vesperini cleverly tied together the loose strands of Bedrich Smetana’s opera at Bard’s SummerScape festival.

Georg Philipp Telemann’s overlooked intermezzo “Pimpinone” is being presented by the Boston Early Music Festival this weekend.

Watch and listen to five recent highlights, including music at a fraught moment in the Kennedy Center’s history and a passing delight in Tchaikovsky.

Watch and listen to five recent highlights, including the “Brutalist” soundtrack, the soprano Barbara Hannigan and Strauss singers at the Met Opera.

Compared with previous seasons, recent concerts by the Festival Orchestra of Lincoln Center were refreshingly casual, but also more mixed.