Alisa Weilerstein brought her new project, a mix tape of new works and movements from Bach’s cello suites, to Zankel Hall.

Often seen onstage as a star of bel canto opera, this tenor crafted a recital of works by Robert Owens, Margaret Bonds and their successors.

A festival responds to the assaults and insults of war by celebrating the composer who shaped the nation’s contemporary music, Borys Liatoshynsky.

Michael Volle puts his noble voice to delightfully undignified use as the title character in Robert Carsen’s still fresh production of “Falstaff.”

Players from the ensemble came to New York to perform works by Bach, Telemann and Johann Gottlieb Janitsch at the 92nd Street Y, New York.

Bernard Labadie and the Orchestra of St. Luke’s returned to Carnegie Hall in a program that also included a Mozart piano concerto with Emanuel Ax.

Mao Fujita’s playing had a prettiness all its own, but he didn’t connect profoundly with all the composers on his largely safe program.

This revival of John Dexter’s production of “Dialogues des Carmélites” features a tightly knit cast led by the full-voiced soprano Ailyn Pérez.

The composer Shawn Okpebholo has created a song cycle that imagines the inner lives of fugitives from American slavery.

Julie Taymor’s version of Mozart’s opera, a fairy tale of puppets and plexiglass, achieves its finest form in the Met’s condensed version for families.