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Lively performances offer fresh perspectives on elegies old and new in the penultimate ChamberFest Cleveland concert. 

A Wigmore Hall recital to take the listener from the Belle Époque to the acceptable face of modernism. 

A lunchtime concert with principal players from the Royal Northern Sinfonia and Dinis Sousa offers a delectable treat. 

The Scottish conductor held the podium and the piano bench in an expansive program that included Wagner, Britten, Debussy and the Georgia-based composer Carlos Simon.

Dame Sarah Connolly and Julius Drake savour the al fresco surrounds of the Villa Foce to produce a delightful evening of eclectic music in four languages. Delizioso!

Antonacci's voice shines even in the art songs that pad out the evening, but it's Poulenc's one-act opera that gives San Francisco Opera Lab's current offering dramatic weight (and makes it worth seeing).

In their recital together Wednesday night at the Wiener Staatsoper, mezzo Magdalena Kožená and star pianist Mitsuko Uchida reminded their audiences that they are wonderfully capable musicians capable of great color, finesse and technical prowess. 

Anna Caterina Antonacci's rare appearance in New York was another rewarding occasion to savor, with a recital of French songs followed by an unforgettable performance of Poulenc's La voix humaine.

On Sunday afternoon the most recent recipient of the prestigious Kathleen Ferrier Award, Kitty Whately, was welcomed to the Clothworkers’ Hall by Leeds Lieder, an organisation founded in the hope of introducing art song to a new audience.

The intimate setting of the Wigmore Hall provided the ideal platform for mezzo-soprano Christianne Stotijn’s sensitive performance of songs by Faure, Chausson and Schumann. Her voice flowed apparently effortlessly through this varied repertoire, connecting powerfully with the audience.

Anna Caterina Antonacci, Voix humaine par excellence, appelée par le piano complice de Donald Sulzen à l’Opéra de Lyon