CLASSICAL MUSIC & OPERA
Because it’s rare that we hear early opera other than Monteverdi, and Opera Omnia is fully staging Francesco Cavalli’s Giasone—in a club that’s probably about the size of the hall where it premiered. Aug. 31–Sept. 7 at (Le) Poisson Rouge.
Because this James Dillon piece—written over several decades, with a score ranging from a cappella choir to drumming and electronics and requiring three nights to be performed, causing what the composer calls “the most canceled premiere of all time”—will finally, with a little luck, be heard. Sept. 14, 16, ands 17 at Miller Theatre.
William Walton’s ‘Henry V’ Score
Because Christopher Plummer’s regal baritone will embody the man who would conquer France when the New York Philharmonic plays this soaring film score. Sept. 17 at Avery Fisher Hall.
Because in the glut of 9/11 performances, the Kronos Quartet’s Awakening—an evening of works ancient and modern from Iraq, Iran, India, Sweden, the U.S., and beyond—embodies the spirit of unification. Sept. 21–24 at BAM Harvey Theater.
Because her velvety soprano will be pushed to the limits this season, first as she plays the queen who would lose her head in Donizetti’s Über-challenging Anna Bolena(starting Sept. 26 at the Met), then in a most glamorously Russian recital debut of Tchaikovsky and Rimsky-Korsakov.Oct. 26 at Carnegie Hall.
Because the boys of this intrepid string quartet back up talent and forward-thinking programming with a tangible sense of fun—and will take the Zankel stage in October to play the first piece they wrote together, plus Zorn, Glass, and Beethoven.Oct. 31 at Zankel Hall.
Gotham Chamber Opera
Because this company (unlike some we could name) is as focused and together as ever. Opening this season: Nico Muhly’s Dark Sisters, about one woman’s attempt to escape a fundamentalist Mormon polygamous sect. Nov. 9–19 at the Gerald W. Lynch Theater.
‘Spem in Alium’
Because the formidable twelve-singer early-music Huelgas Ensemble will sing the 40 parts of Tallis’s work, last heard here in a mind-bending sound installation in 2010. Nov. 10 at White Light Festival.
Because celebrity hasn’t dulled Benjamin Millepied’s experimentation—his dance-on-film backs up violinist Tim Fain’s performance of a new Philip Glass work inspired by Leonard Cohen’s Book of Longing. Sept. 24 at Symphony Space.
Avi Scher and Emery LeCrone
Because these two promising young minds aren’t afraid of Elliott Carter’s not-exactly-ballet-friendly music and will present two new works set to the same Carter score. Oct. 2–3 at Works & Process.
Charles Askegard’s final season
Because his steadfast, low-key partnering and stage presence will be missed when he retires after 25 years at City Ballet. Oct. 9 at the David H. Koch Theater.
Cloud Gate Dance Theatre of Taiwan
Because Taiwan’s first contemporary-dance troupe will transform the BAM opera house stage into a dreamlike calligraphy canvas in Lin Hwai-min’s Water Stains on the Wall.Oct. 12–15.
American Ballet Theatre
Because ABT’s dancers may shine in story ballets, but they’re even more splendid in modern work. This fall season, that means Tharp, Taylor, and—we can’t wait to see how they adapt to this—Merce Cunningham. Nov. 8–13 at City Center.
Because although we’d usually roll our eyes at anything that purports to explore “wonder and the ineffable,” John Jasperse’s pieces are consistently and unexpectedly witty and touching, especially with a score from favored collaborator Hahn Rowe.
Sept. 22: Paul McCartney premieres his first dance score, written for City Ballet, with costumes by daughter Stella.
Oct. 19–23: The Suzanne Farrell Ballet shows off its Balanchine prowess, including his Meditation.
Oct. 23: The singularly qualified London Symphony Orchestra plays Britten’s War Requiem.
Nov. 5: Esa-Pekka Salonen’s composition Nyx, premiered by the Atlanta Symphony at Carnegie Hall.