Zachary Woolfe

Fleming is making her directorial debut in Colorado working with young artists on Mozart’s “Così Fan Tutte,” an opera in which she appeared early in her career.

Calm and graceful, this cello piece by Bach slowly dances through hopefulness, longing and introspection.

Des Moines Metro Opera has become one of the country’s most successful smaller companies doing adventurous repertory in a 467-seat space.

The director, one of the most influential in opera, is staging new productions in New York, France and Austria this summer.

En esta breve pieza para piano, una canción íntima sin palabras, Brahms contiene las lágrimas, lo que la hace desgarradora.

In this short piano piece, an intimate song without words, Brahms holds back the tears, which makes it heartbreaking.

A Monteverdi masterpiece and a new work by George Lewis are played simultaneously in an American Modern Opera Company production at Lincoln Center.

Birds joined in for the blissed-out sounds of concerts organized by the adventurous flutist Claire Chase at the Ojai Music Festival in California.

Memorable performances included a pair of Strauss operas, a suave villain, a star soprano in “Fidelio” and a new conductor in “Le Nozze di Figaro.”

Lakota Music Project Merges Two Traditions for One Common Cause

Unsuk Chin, the curator of the Seoul Festival in Los Angeles, shares music by some of her favorite young composers and performers.

Between music directors this season, the orchestra has been sounding fresh, engaged and more cohesive.

Why Isn’t My Favorite Composer More Popular?

Kate Soper’s tender, whimsical “Orpheus Orchestra Opus Onus,” a tribute to the orchestra, had its premiere on Thursday with its composer as soloist.

In Strauss’s “Salome,” is the Dance of the Seven Veils a seduction? A striptease? A cry for help? Watch some memorable versions from its long history.

John Adams’s Shakespeare adaptation has been trimmed since its premiere, but still struggles with setting a flood of dense Elizabethan verse.

There’s a crackling aliveness to music in the 220-seat, subterranean yet airy auditorium, which was put through its paces in a burst of six concerts.

After turning a derelict lecture hall into the daring Almeida Theater, he had a long career as a director and impresario in Europe and New York.

In his company debut, the director Claus Guth takes a psychological approach, surrounding the title character with six versions of her younger self.

The 21-year-old pianist turned the great set of variations into the story of a young man’s maturation from innocence to experience.