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

Tim Long, a pianist, conductor and teacher, conceived his project to fill a cultural need: “There is no repertoire like this in existence.”

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.

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.