Where have you gone, Leonard Bernstein? The composer’s current comeback is a reminder of his legacy as a master proselytizer.

Maestro Maazel shows he’s got his Philharmonic working in near-perfect harmony; Donizetti surely doesn’t deserve the City Opera’s new Lucia.

Another concert in the unfolding celebration of George Gershwin's music finds parallels in the works of Oscar Levant, Vernon Duke, and Maurice Ravel.

A Danish company's take on the Orpheus legend is so much smoke and shimmers

Scenic mishaps almost overshadow the lyrical action in the Kirov’s Kitezh; The Demon returns; a masterful Eugene Onegin.

It would be churlish to suggest that Plácido Domingo, after a spectacular career studded with accomplishment, is doing middling work these days. Wouldn't it?

At City Opera,"The Mother of Us All" becomes more than just Americans on parade; maybe Mozart knew what he was doing in "La Clemenza di Tito."

A high-octane concert version of Stephen Sondheim's Grand Guignol epic "Sweeney Todd" revives an old debate about opera versus musical theater.