The Cleveland Orchestra’s staging of Mozart’s “The Magic Flute” was a reminder that ensembles can help fill the gap as opera grows harder to find.

Donald Palumbo, a mild-mannered but relentless perfectionist, is stepping down after 17 years as the company’s chorus master.

An opera about Danny Chen, an Army private who died by suicide after experiencing racist hazing while serving, was performed in New York, his hometown.

This week’s program was supposed to feature the orchestra’s principal oboe, but he and another player have been suspended amid misconduct allegations.

Alsop has had enviable success, and was the first female conductor to lead a top American orchestra. She wants to take another step up.

Esa-Pekka Salonen is known for unusual, ambitious projects. But at the New York Philharmonic this week, he succeeded with standard repertory works.

Olga Neuwirth’s “Keyframes for a Hippogriff,” a chaotic explosion of postmodernism, had its American premiere, conducted by Thomas Sondergard.

Carnegie’s intermittently illuminating festival “Fall of the Weimar Republic” has suffered from interjections of too much standard repertory.

Anthony Freud is leaving Lyric Opera of Chicago on good terms, though the company faces challenges in a strained environment for the performing arts.

After making history as the Metropolitan Opera’s first work by a Black composer, Terence Blanchard’s “Fire” is back — with its showstopping step dance.