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.

By singing men and women, nobles and servants, the countertenor Anthony Roth Costanzo takes the opera’s theme of human mutability to a chaotic extreme.

Robert Levin has long argued that Mozart would have made up new material while performing, and he follows the master in a series of dazzling...