The Russian star soprano appeared in her first staged opera in Germany since the Ukraine invasion, still under fire for her past support for President…

It’s not stage-filling spectacle, but Barrie Kosky’s version of Wagner’s “Das Rheingold,” the start of a four-opera epic, is eerie, vivid and intense.

No other festival matches the sheer profusion of classical music, opera and theater offerings at the Salzburg Festival.

At the festival that Wagner founded, a new “Parsifal” looks different depending on how you see it, and a workshop model refreshes revivals.

“Treemonisha” — brilliant, flawed and unfinished — is ripe for creative reimagining at a time when opera houses are looking to diversify the canon.

Cutting-edge technology has again come to the Bayreuth Festival, where Wagner premiered his final opera with the latest stagecraft in 1882.

Saint-Saëns’s 1883 work is seldom performed today, but it is being well staged and excitingly sung at Bard College.

“Farming,” a choral work that had its New York premiere at Caramoor, is a chaotically ambitious reflection on colonization, consumption and marketing.

A hanging concert hall at the Shed in Manhattan purports to offer something “experimental, experiential and communal.” Our critic climbs the stairs.

The Met Orchestra’s season-ending concert at Carnegie Hall featured the premiere of Matthew Aucoin’s “Heath (‘King Lear’ Sketches).”