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Soprano Chelsea Lehnea is a revelation in a rare opportunity to see Donizetti's operatic take on the early Christian martyr Polyeuctus. 

Kyle Abraham reimagines Mozart's Requiem with an electronic score by Jlin, a futuristic set and choreography that says little about life or death. 

The Italian pianist breathes new life into a well-trodden warhorse by bringing out some of the score’s overlooked details in the Philharmonic's final concert at the Rose Theater. 

In New York Philharmonic debuts, Rakitina and Zhang deliver a thoughtful version of Rachmaninov's Second Piano Concerto, mostly shorn of sentimentality – a fresh look from young eyes.

A trio of Romantic works are performed under the baton of Giancarlo Guerrero, making his Philharmonic debut alongside pianist Alessio Bax.

In his rendition of Beethoven's C minor Concerto, Yefim Bronfman's ability to mix powerful and graceful statements was as amazing as ever.

The concert paired strong new works by Joan La Barbara, Nicole Lizée and Paola Prestini with compositions by Luciano Berio and George Crumb for a satisfying evening of adventurous works for voice.

Rossini’s La gazza ladra in New York exposed an enthusiastic public to an auditive and visual happening that was entirely novel for many long-time opera lovers.

The recently formed Teatro Nuovo provide fine entertainment with Bellini's rarely performed second opera.

It's possible to have nothing but admiration for Mark Morris as a choreographer, yet his actual dances I often find pedestrian with a limited vocabulary. The works are interesting to see once, to see what he can do with classical music that has no obvious dance rhythms, but I rarely want to see them again.

In the Brokeback Mountain, Wuorinen's  powerfully depicts the stern landscapes, the omnipresent menace, the desolate life of the characters and their awkward interactions.

An unlikely double bill of Mozart and Pergolesi at the Lincoln Center's White Light Festival. 

Whenever a relative opera novice or occasional toe-dipper tells me how he or she cried at the end of La bohème, I want to send them to La fanciulla del West. Of course I choke up at the end of Bohème – who doesn't? – but for a good bawling session, the fabulously maudlin finale of Fanciulla is the place to be. The plot doesn't bode well.

Babel(words); a dance-theatre work by Sidi Larbi Cherkaoui and Damien Jalet is presented at Lincoln Center in New York City as part of the White Light Festival 2016.

A rare pairing of Rachmaninov's Aleko and Leoncavallo's Pagliacci was the first première of the New York City Opera's 2016-2017 season.

Musically inoffensive, the soaring Romanticism further makes sense given the story, in which a cast of García-Márquezian characters float down the Amazon River on a steamboat rife with passion and yearning.

The four pieces – all U.S. premières – created a portrait of Boulez minus Boulez, reminding me of a middle school art exercise in which we were asked to draw an egg without any white crayons.

Italian soprano Anna Caterina Antonacci, a darling of the Parisian opera stages, puts on a fine display of her vocal range on the occasion of the American première of her production titled Era la Notte (in English translation, “It Was Night”). Originally staged in 2006, this performance is being presented in New York as part of the White Light Festival at the Lincoln Center.

Some twenty minutes into the opening night performance of DESH, the Olivier-award winning solo choreographed and performed by Akram Khan, I feel baffled.

In his program note, conductor-director Iván Fischer describes his Mostly Mozart Festival production of Mozart’s Le nozze di Figaro as a staged concert. His agenda sounds serious: “This is my attempt to bring theater and music closer to each other, to create a new natural harmony.” He asks for a new era in opera production, seeking “organic unity” between music and theater.

Opera Lafayette has uncovered a fascinating work in their revival of Pierre-Alexandre Monsigny’s 1762 comic opera Le roi et le fermier (The King and the Farmer). The Washington, D.C.

Librettist Lorenzo Da Ponte billed Don Giovanni a “dramma giocoso,” literally a “jocular drama,” and, unsurprisingly, finding the balance between comedy and drama is the key to any good production.