Conductor David Robertson draws brilliance and passion from the Philharmonic; an offbeat troupe reveals the unknown Mascagni.

Long on décor and devoid of feeling for the dying Violetta, Zeffirelli's production of "La Traviata" seems to have taken its design cue from "The Will Rogers Follies."

Just before his death, California composer Lou Harrison gets a loving tribute from Juilliard; a new baton at the Cleveland.

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

Juilliard's fifteenth Focus! festival surveyed the broad range of contemporary American composition and found a scene driven by diversity, if not passion.

This behemoth strikes me as Mahler’s most ungainly and least persuasive symphonic work.

The Israel and New York Philharmonics have a whale of a time playing together; a minor-miracle performance of La Forza del Destino; notes from the Soviet musical underground.

Mark Morris and Isaac Mizrahi serve up a highly Baroque take on Rameau’s froggy satire Platée; Emily Dickinson at the Philharmonic.

Three operas return from deep storage, only to encounter modern-day problems.