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William Levi Dawson’s Negro Folk Symphony, overlooked for decades, heads an all-American program of 20th-century works in New York. 

Último helecho, by Nina Laisné, François Chaignaud and Nadia Larcher, is a profound reflection involving the identity of a population and the repercussions of the various influences that have been layered over time.

At the center of this production is the centuries-old verse of Sor Juana Inés de la Cruz, the wondrous voice of Magos Herrera and a richly realized telling of the quest for knowledge. 

Chris Thile and the Knights combine virtuosity and informality, classical music, bluegrass and other genres at Zankel Hall, including Thile’s virtuoso shaggy dog story ATTENTION!

The world premiere of Iraqi-American composer Amir ElSaffar's ambitious Dhikra (Remembrance) very nearly succeeds in its ambitions. 

In their “Visionary Sounds” concert, the ensemble lets Eastman's Stay On It fall into abandon at times... but never without a plan. 

If Sō Percussion isn’t precisely a pop band, they’ve certainly learned how to please a crowd, even while, at times, challenging expectations.

Alex Esposito and Alessandro Corbelli lead a young cast in an early opera buffa by Donizetti, in a new production, with mixed results, by Francesco Micheli.

The Scottish Chamber Orchestra directed by Hugo Ticciati premiere Karine Polwart and Pippa Murphy’s Seek the Light, performed as a thread with contemporary string works. 

Anthony Roth Costanzo and Justin Vivian Bond were authentic to their their dramatic, flamboyant, passionate selves, finding common ground in carefully crafted medleys and duets.