The conductor Susanna Mälkki brought her orchestra to New York in something of a farewell to her tenure in Finland.

Giddens said that the success of their opera “Omar” proves that “nobody has the lock on being a composer.”

Among our critic’s recommendations are multiple “Ring” cycles, a premiere by Ellen Reid and the soprano Lise Davidsen in Strauss’s “Salome.”

A spherical concert hall inspired by the composer Karlheinz Stockhausen’s ideas will be suspended in the Shed’s McCourt space.

Three artists preparing a new production of this classic at the Metropolitan Opera discuss what makes it so difficult yet satisfying.

The group returned to Zankel Hall for the latest installment of its “Doppelgänger” project, featuring a premiere by Anna Thorvaldsdottir.

The choreographer Benjamin Millepied’s directing debut is an of-the-moment but scattered take on a classic love story.

Taking a cue from Mozart, András Schiff appeared with the New York Philharmonic as both piano soloist and conductor.

Kirill Gerstein, who has recorded a new account of the Second Piano Concerto with the Berlin Philharmonic, discusses the composer’s polarizing legacy.

John Luther Adams’s latest premiere, “Vespers of the Blessed Earth,” is a tear-splattered departure from his usual style.