A pair of Carnegie Hall vocal recitals—one wintry, one warmer—show off new talent.

James Levine and the Boston Symphony ease their audience out of the standard repertory.

Charles Wuorinen’s Haroun and the Sea of Stories is a modernist twelve-tone opera that’s easy to love.

Elvis Costello reads—and writes—symphonic scores better than other pop stars; plus an experimental opera starring Thomas Edison’s phonograph.

With Cav/Pag, Glimmerglass makes a mess of one of operaÂ’s great double bills

When Daniel Barenboim isn’t playing fussy, he gets the composer like few other pianists today. Go, Rameau, go! Baroque mania hits Brooklyn.

One longs for a properly impassioned diva in Glimmerglass's "Tosca," but good packaging (and that plotline) carry the opera far.

Roberto Alagna is a forceful tragic hero in the Met’s new Werther, which also nods to another tenor—the late, great, very nervous Franco Corelli.

A new film adaptation of John Adams’s The Death of Klinghoffer proves (yet again) that the opera should be put out of its misery; Morimur, Bach’s most unlikely hit.

How does the Emerson String Quartet—winner of the Avery Fisher Prize—work so well as a group? By not really functioning as one.