Between music directors this season, the orchestra has been sounding fresh, engaged and more cohesive.
Category: Classical Music
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‘This House’: An Intimate, Intergenerational Opera Is Also a Family Affair
Ricky Ian Gordon and Lynn Nottage tell the story of three generations in a Harlem home. Enter a second Nottage generation, her daughter, on the creative team.
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5 Classical Music Albums You Can Listen to Right Now
Brooklyn Rider’s exploration of the four elements, miniatures by Kurtag and the Anzû Quartet’s debut recording are among the highlights.
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What I Learned From the Great Singer Dietrich Fischer-Dieskau
The baritone Benjamin Appl remembers his teacher at 100, as one of the 20th century’s greatest singers and a complicated, conflicted man.
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Why Isn’t My Favorite Composer More Popular?
I love the operas of Leos Janacek. So do audiences — when they go to see them. But the works remain stubbornly on the outskirts of the repertory.
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Dudamel and the New York Philharmonic Play Philip Glass
Kate Soper’s tender, whimsical “Orpheus Orchestra Opus Onus,” a tribute to the orchestra, had its premiere on Thursday with its composer as soloist.
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Santa Fe Opera Continues to Draw Performers From Across the Globe
Nearly 70 years old, the Santa Fe Opera and its summer season draw singers, directors, designers, conductors and apprentices from across the globe.
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The Soprano Sonya Yoncheva Has Many Roles, On and Off the Stage
Sonya Yoncheva discusses her turn as Lisa in “The Queen of Spades” at the Metropolitan Opera, her summer concerts, her production company and more.
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Review: New York Philharmonic, Renée Fleming and a Sub Conductor
Brett Mitchell led the New York Philharmonic in the local premiere of a song cycle by Kevin Puts, featuring the soprano Renée Fleming.
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Michael Flynn, a Trump Ally, Sponsors Beethoven at the Kennedy Center
Following the president’s overhaul of the center, Mr. Flynn, the former national security adviser, has made a substantial gift to the National Symphony Orchestra.
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John Adams’s ‘Antony and Cleopatra’ Sags at the Metropolitan Opera
John Adams’s Shakespeare adaptation has been trimmed since its premiere, but still struggles with setting a flood of dense Elizabethan verse.