Lyric Opera of Chicago follows a recent world premiere with yet another: “Proximity,” a set of works by three librettist-composer pairs.

Since the orchestra’s music director was last on the podium in November, his successor has been announced. He came back blaring with Messiaen.

In “Solomon,” performed elegantly at Carnegie Hall by the English Concert and Clarion Choir under Harry Bicket, the chorus is the star.

Christian Thielemann led the storied orchestra in three concerts at Carnegie Hall, including a revelatory performance of Strauss’s “An Alpine Symphony.”

Sonya Yoncheva doesn’t fill out the long lines of “Norma” at the Met, while Angel Blue is a warm, sincere Violetta in “La Traviata.”

The tenor Piotr Beczala sings with uncanny serenity and command in the title role of Wagner’s opera, directed by François Girard with little subtlety.

“The Gates of Justice,” a large-scale 1969 choral work about relations between Black and Jewish Americans, is being performed in Los Angeles.

The new collection “Jessye Norman: The Unreleased Masters” raises artistic and ethical questions.

This spring, Gustavo Dudamel, the Philharmonic’s next music director, conducts the big deal symphony, the Met Opera stages Terence Blanchard’s “Champion”; and in Chicago, Riccardo...

Kate Soper’s “The Romance of the Rose,” which had its long-delayed premiere at Long Beach Opera, showcases her signature quick-shifting eclecticism.