Zachary Woolfe

Watch and listen to five recent highlights, including performances by Davóne Tines and Lise Davidsen, and a new album by Ethan Iverson.

“Die Frau Ohne Schatten,” a dense ode to fertility, may not sound appealing at first. But in this performance, the fairy tale comes movingly to life.

A century after his death, the composer of “La Bohème,” “Tosca” and “Madama Butterfly” still dominates the repertoire like no one since.

Performing with the New York Philharmonic and Kazuki Yamada, Lim played Chopin’s F minor Concerto with imperturbable calm and eloquence.

The 28-year-old maestro, entrusted with two storied ensembles, visited Carnegie Hall with the superb Concertgebouw Orchestra of Amsterdam.

In three concerts at Carnegie Hall led by Kirill Petrenko, this orchestra played with awe-inspiring force and finesse.

The powerhouse soprano, already a company stalwart at 37, still seems to be figuring out a character whose moods change on a dime.

The Musician Building the Great Native American Songbook

Watch and listen to symphonies by Mahler, a new opera by Missy Mazzoli, Ray Chen’s take on video game music and more.

The energy in Verdi’s classic must come from the singing, but the cast of this revival fails to convey the work’s passion.

The New York Philharmonic has played Tchaikovsky’s “Pathétique” Symphony twice in two years. Rafael Payare led its latest outing.

It may not be as big or run as long as its visual arts sibling, but the Music Biennale includes a wealth of commissions and premieres.

The Crossing is one of many elements in “Can We Know the Sound of Forgiveness,” which links pieces by Gabriela Ortiz in a five-movement meditation.

Led by Manfred Honeck, the orchestra all too quickly revisited Beethoven’s Seventh Symphony and, with Vikingur Olafsson, Brahms’s Piano Concerto No. 1.

Under the leadership of Tomer Zvulun, Atlanta Opera powered through the pandemic, has tripled its budget and is producing ambitious work.

“Grounded,” the new work that opened the season, has been joined by revivals of three Puccini, Verdi and Offenbach classics.

Two new works, “The Listeners” and “Grounded,” echo the age-old spectacle of female disintegration and show the tension of fitting modern stories into old forms.

Jeanine Tesori and George Brant’s bloodless “Grounded,” about a fighter pilot turned dissociating drone operator, stars the mezzo-soprano Emily D’Angelo.

Jeanine Tesori and George Brant’s bloodless “Grounded,” about a fighter pilot turned dissociating drone operator, stars the mezzo-soprano Emily D’Angelo.

The conductor led the New York Philharmonic in Mahler’s Fifth Symphony, an inspiring opening night for a season starting off unsettled.