A Mozart staging set in 1950s Coney Island had its premiere days after Mr. Levine was fired when an investigation found evidence of sexual misconduct.
Author Archives: ANTHONY TOMMASINI
The Metropolitan Opera is struggling on several fronts. But if it keeps presenting work on this level, all should be fine.
The Radiohead guitarist has been nominated for an Oscar for best original score. If he wins, he may need to thank Bach, Messiaen and Britten.
The night after unveiling adventurous plans for his first season as music director of the Philharmonic, Jaap van Zweden disappointed in concert.
Leif Ove Andsnes, who has used his artist in residence position with the New York Philharmonic to showcase rarities, turns to an early Britten work.
Yannick Nézet-Séguin, the company’s music director designate, brought his own strong take to Wagner’s profound, challenging and very long score.
Hear how the pianist created his definitive, career-making 1955 recording of Bach’s “Goldberg” Variations — one misstep at a time.
Stephen Hough’s program at Carnegie Hall seemed a curious way of honoring the 100th anniversary of a composer’s death. But his playing proved his point.
A richly affecting, musically restrained and very timely mariachi work, “Cruzar la Cara de la Luna,” comes to the New York City Opera.
An audience of just 48 hears — barely — each performance of David Lang’s “the whisper opera,” at the N.Y.U. Skirball Center through Feb. 4.