Jason Victor Serinus

The West Bay Opera's Magic Flute list of joys is long, a cumulative accomplishment of production, casting, and intention.

A cappella singing groups of all kinds, from all over the world, descend on Marin this weekend, in a major musical event that has its own army of dedicated enthusiasts.

Some of the finest singing that has graced Bay Area stages this year distinguished the finals of the eighth annual Irene Dalis Vocal Competition.

Baritone Florian Boesch and pianist Malcolm Martineau brought their brilliant interpretation Schubert’s stark Winterreise (Winter Journey) to golden-toned Weill Hall.

Before a a thrilled audience, as though she could do no wrong, mezzo-soprano Stephanie Blythe dedicated her take-no-prisoners voice to a winning program of French song and American popular classics from the 20th century.

Concert-loving mezzo Kelley O’Connor talks about upcoming performances and the expanding arc of her career.

Festival Opera confronts the Holocaust in two powerful chamber operas — one created by Nazi victims in 1943, one by a hopeful contemporary team of composer-and-lyricist.

Bass-baritone Luca Pisaroni's recital showcased the rare singing quality of his vocal line — smooth, even, and connected — and an unforced lyricism of his tone, all-of-one-piece.

Only Steven Blier could possibly concoct a program as rich, colorful, and provocative as the one he brought to his annual New York Festival of Song Schwabacher Debut Recital.

War’s savagery is vocally painted in beautifully rendered emotion, in British baritone Christopher Maltman’s songs-of-a-soldier program.