Joana Mallwitz, one of Germany’s fastest rising stars, makes her Metropolitan Opera debut in “The Marriage of Figaro” on Monday.

The Los Angeles collective Wild Up brought its Darkness Sounding festival to New York, with some of the event’s appeal lost in transit.

When the star singer Asmik Grigorian dropped out of the orchestra’s performance at Carnegie Hall, Beethoven’s Fifth and his “Leonore” Overture No. 3 subbed in.

Blacklisted at home but finding acclaim abroad, she sought to bridge East and West, the sacred and the secular, in vivid, colorful compositions.

Marin Alsop led the orchestra in a program of works by Beethoven, Brahms and Stravinsky, as well as a new violin concerto by Nico Muhly.

A violinist plays for her father. A singer takes requests. In hospitals and hospices, bedside performers offer a new kind of care.

This star pianist fascinatingly, and with mixed success, led a trio of 20th-century chamber concertos from the keyboard.

Riccardo Muti led the Chicago Symphony Orchestra at Carnegie Hall in a program that featured Verdi’s “Four Seasons” and Tchaikovsky.

This year’s Prototype, a showcase of experimental opera and theater, was stylistically broad but the focus was on the human voice in all its weirdness.

Kathryn Lewek has made a specialty of singing the showstopping role in Mozart’s “The Magic Flute.” “It’s my security blanket,” she said.