Oussama Zahr

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.

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

Meyerbeer, one of the 19th century’s most popular composers, is out of fashion today. But his work is receiving a rare revival at Bard College.

Davóne Tines plays Paul Robeson in a solo show on Little Island that weaves together the words and music of this American hero to tell his story.

Strauss had seemingly impossible standards for a soprano in “Salome.” But Davidsen, making her role debut in Paris, is exactly what he intended.

Renée Fleming, Kelli O’Hara and Joyce DiDonato reprised their roles in Kevin Puts’s adaptation of the award-winning novel and film.

Dudamel, the New York Philharmonic’s incoming music and artistic director, stepped in after a guest conductor fell ill.

The opera-oratorio, an alternate Nativity story, featured a flurry of Met debuts, including the director Lileana Blain-Cruz and the conductor Marin Alsop.

In a program of Tchaikovsky and Rachmaninoff, a guest conductor coaxes a sumptuous sincerity from the orchestra’s musicians.

The tenor sang the role of Ruggero in a revival of Puccini’s opera that was performed with such restraint, it verged on overly careful.

On Friday, the pianist Mitsuko Uchida and the tenor Mark Padmore illuminated the bleakness of Schubert’s genre-defining song cycle at Zankel Hall.

Bartlett Sher’s middling production returned to the Metropolitan Opera, with a glorious Benjamin Bernheim and Nadine Sierra in the title roles.

For his latest Carnegie Hall appearance, Levit played solo piano transcriptions of symphonic works by Mahler and Beethoven.

In a revival of Franco Zeffirelli’s lavish production, the conductor Oksana Lyniv led a performance that transcended the gilded stage dressing.

In his debut on the main Carnegie stage, Olafsson gave a spectacular reading of Bach’s “Goldberg” Variations.

Over consecutive evenings, the New York Philharmonic and the Metropolitan Opera Orchestra performed Mahler’s works on programs with star sopranos.

With neither encores nor speeches, this ensemble presented a subtly clever, cogent and complete pair of concerts at Carnegie Hall.

Mozart’s opera, tailored to families in this staging, is big on spectacle and let’s-put-on-a-show verve. What shines? Kathryn Lewek as Queen of the Night.

Rachmaninoff’s Symphonic Dances was the highlight of a program that also included the New York debut of Bryce Dessner’s evocative Concerto for Two Pianos.