Marvin David Levy’s attempt to bring O’Neill’s Americanized Greeks to the opera stage is still a victim of sixties classical conventions.

Karita Mattila’s star turn as Salome electrifies the Met’s otherwise chilly new production; Luciano Pavarotti’s final bow is a muted affair.

City Opera’s Sweeney Todd revival could win over even a Sondheim detractor; an unpretentious Don Giovanni; Monteverdi with puppets.

A young soprano makes a splashing Met debut in The Queen of Spades; Cecilia Bartoli rescues Antonio Salieri from obscurity—and blandness.

After 29 years leading the Boston Symphony, Seiji Ozawa finds new life with the Vienna Philharmonic—even among the classics.

It’s nostalgie de la Boulez, as Pierre revisits his Wagnerian past—with mixed results; a fizzily pleasurable Rossini revival at the Met.

The Collegiate Chorale traces Kurt Weill’s brilliantly chameleonic career; Les Arts Florissants pays tribute to Charpentier.

In a recital appearance worthy of a rock star, Peruvian tenor Juan Diego Flórez woos and wows; carry on, Ives! Simon Rattle goes Germanic.

A thrilling Peter Grimes (but an endless Boris Godunov); Lincoln Center’s “Sound Investment” proves a surprisingly good bet.

Joshua Bell plays an evening of classical-lite desserts that taste great but aren’t so filling—especially in light of an even younger violinist’s choices.