Olga Neuwirth’s new opera, “Monster’s Paradise,” leans into the absurd to examine the phenomenon of the strongman leader (with added zombies).
This month offers a Valentine’s Saturday, a Fat Tuesday and a month of Black history, plus the Harlem Globetrotters and a last call for Gumby.
Readers discuss ways to rescue the industry.
Kendrick Lamar, Lady Gaga, Bad Bunny, Sabrina Carpenter y Leon Thomas son los artistas que más nominaciones recibieron en esta edición de los premios a lo mejor de la música.
Readers discuss Philip Glass’s refusal to allow the performance of his symphony at the Kennedy Center. Also: Real leaders at a time of crisis.
Gustavo Dudamel, the New York Philharmonic’s incoming music and artistic director, plans to lead annual operas in concert at Carnegie Hall.
Amid a broader austerity push, historical sites and an opera stage will shut temporarily, though many worry the closures will be permanent.
“Sweet Dreams of Joy,” from the documentary “Viva Verdi!,” was indeed eligible under academy rules even if it was recorded nearly 10 years ago. Here’s how.
Amid cancellations and turmoil, the National Symphony Orchestra is planning to stay. “I cannot make everybody happy,” its conductor said.
Maurizio Pollini’s complete recordings for Deutsche Grammophon have been gathered in one place, allowing listeners to trace his entire career.
Graves, who gave her last performance on Saturday at the Met, talks about “Carmen,” the doctor who told her she would never sing again and at the Kennedy Center.
The soprano, who previously resigned as an artistic adviser, was scheduled to sing with the National Symphony Orchestra in May.
Thomas Adès led the New York Philharmonic in an expanded version of his “America: A Prophecy” that strikes notes of caution and consolation.
The famous orchestra, which has never performed in the celebrated theater, is gearing up for a concert Sunday. “It’s going to be a rush,” said the principal cellist.
The trailblazing conductor Marin Alsop will chair the jury for the inaugural Cliburn International Competition for Conductors in 2028.
Esa-Pekka Salonen, the orchestra’s longtime music director, came back to lead his first concerts since being named its creative director.
Aigul Akhmetshina, performing now at the Met, shares her thoughts on what it takes to bring the famous Habanera to life.
Concert halls and symphony orchestras try to lure younger listeners by mutilating the music. There’s a better way.
Semyon Bychkov will soon take up the most prestigious post of his long, varied career. Collaborating with Ralph Fiennes on “Eugene Onegin,” he gives a taste of things to come.
Our critic tracked one concert, from its first rehearsals to its first performance. Practice is only part of what makes this ensemble excellent.
Starting out in the 1970s as a rare woman in a field dominated by men, she directed the premieres of a pair of politically charged modern classics.
After the institution’s board declared it the Trump Kennedy Center, a lot of signage around the building is in the midst of a makeover.
Michael Gordon and Richard Foreman’s “What to Wear” at BAM is a visually rich, textually odd work — and a hot commodity.
Building the instrument is hard enough. Turning a profit is a killer. But Jim Phelan is bent on reviving one of the great names in classical music.
Performing “Vanessa” is just what the Boston Symphony should be doing. But its concert staging came off as drab and ineffective.
Matthias Pintscher’s first opera in 20 years invites audiences to find their own meaning in a macabre 19th-century tale.
Recent works by Gabriela Ortiz, choral music by David Lang and unreleased recordings by Radu Lupu are among our selections.
Semyon Bychkov will be the musical director for a period when the opera’s performance spaces are under renovation. It’s a chance to add symphonic seasons like at La Scala.
Beth Morrison has shepherded dozens of new works into existence over the past 20 years. And her footprint continues to grow.
The busy mezzo-soprano Marina Viotti has made a career out of versatility: “I think generally people should not do only one thing in their lives.”
He arrived on a mission to reshape the ensemble as its music director. Now, as he departs, he’s still making sense of his pandemic-interrupted tenure.
Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.
Patrick Milando, an accomplished French horn player, now splits his time between the orchestra pit and the cockpit, where he teaches budding pilots like he himself once was.
“Angel Island,” an oratorio by Huang Ruo, brings to life the stark poetry of the people who were detained on the California island in the early 1900s.
Gary Graffman, who is turning 95, is a man of many enthusiasms, including citrus infusions.
“It seemed like a switch flipped right before Thanksgiving,” the leader of the Chicago Symphony said.
Readers praise plans for more contemporary works. Also: Zelensky and American values; protecting the minority; remote work; the Groucho exception.
After one holiday season lost to the pandemic and another curtailed by Omicron, seasonal staples including “The Nutcracker,” “A Christmas Carol” and “Messiah” are back in force.
The benefits of group (music) therapy.
Many arts groups, worried about alienating older patrons, have maintained strict rules. Now “the time has come to move on,” one leader said.
Attendance lagged in the comeback season, as the challenges posed by the coronavirus persisted. Presenters hope it was just a blip.
The Wu Tsai Theater will honor a $50 million gift from Joseph Tsai, a founder of the Chinese e-commerce giant Alibaba, and Clara Wu Tsai, a philanthropist.
The decision will make San Antonio the largest American city without a major orchestra.
The decision will make San Antonio the largest American city without a major orchestra.
As it ended a challenging pandemic return, the Met had one last marathon: a matinee, an evening performance, and then moving out as American Ballet Theater moved in.
After a stronger-than-expected season, the orchestra said it would reverse pay cuts imposed at the height of the pandemic.
Amid a labor battle, the continuing pandemic and war in Ukraine, it often felt as though the real drama was in simply putting on a show.