Lydia Steier’s “The Magic Flute” riffs on “The Princess Bride” and Hans Neuenfels’s “Pique Dame” explores the privileges money can bring.
Lydia Steier’s “The Magic Flute” riffs on “The Princess Bride” and Hans Neuenfels’s “Pique Dame” explores the privileges money can bring.
A new work by Ashley Fure and a Mark Morris dance to Schubert were among the highlights.
Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
New York Times photographers have long captured the outdoor sounds of summer in the city.
Ashley Fure’s throbbing “The Force of Things,” having its New York premiere, renders scarily palpable the threat posed by climate change.
A 17-year-old violinist and a Mozart string quintet were among the highlights.
Britain’s classical music scene relies heavily on freedoms that come from European Union membership. How will it cope outside the bloc?
The center has overhauled its summer offerings. But its signature festival is now suffering from an identity crisis.
Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
Our critic helps intimidated newcomers learn what to listen to, where to hear it and how to find more of what you like.
He co-founded one of the leading classical music management agencies, IMG Artists, and then left it behind to raise money to help people with AIDS.
An interview with Christian Thielemann, the music director of the Bayreuth Festival, whose political views get as much attention as his musicality.
The orchestra will investigate accusations that its concertmaster, William Preucil, sexually assaulted a violin student in his hotel room in 1998.
The festival circuit, including Mostly Mozart in New York and Bayreuth in Germany, gave us some of our highlights this week.
The average compensation for a music director at one of the 64 biggest American orchestras has topped $600,000. Why?
Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
In restoring a work left unfinished at the composer’s death, he sought to achieve “a closer and more conscious understanding of the Mozartean spirit.”
The Marlboro Music School and Festival offers participants in its chamber groups a commodity that has become only more precious: time.
One of Leonard Bernstein’s most ambitious works was at Lincoln Center this week. Our critics diverged on it.
Carlus Padrissa’s staging, conducted by Laurence Equilbey, is part of the new mix of offerings at the Mostly Mozart Festival.
Carnegie Hall’s National Youth Orchestra of the United States of America played a fully professional program under Michael Tilson Thomas.
Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
The Mostly Mozart Festival presented Bernstein’s amalgam of Catholic liturgy and countercultural energy from 1971. But what does it mean in 2018?
Laurence Equilbey is bringing her ensembles to Lincoln Center’s Mostly Mozart Festival for a production of Haydn’s oratorio staged by Carlus Padrissa.
The festival, which has introduced New York audiences to many daring new operas, has announced the lineup for its latest edition in January 2019.