Jeremy Reynolds

Even though opera companies have returned to the stage, some are continuing to experiment with serialized digital offerings.

Audiences like comedy. Opera companies like comedy. So what’s the problem?

A new generation of visionary directors stands tradition on its head to find relevant ways to present opera.

Festivals and orchestras have been programming composers like Walter Piston, Roy Harris, Harold Shapero, and more in recent years. Leon Botstein and Gil Rose explain the newfound interest.

Top players weigh in on what’s driving new-music’s fascination with percussion ensembles.

The 20-member ensemble is set to give an avian-inspired John Luther Adams work an airing in upstate New York.

Better pedagogy and online resources have resulted in a bounty of young virtuosos, but performance and employment opportunities haven’t kept pace.

Contemporary digital artists bring ideas from Fantasia into the 21st century and attract millions of viewers.

A new chamber opera pulled from the headlines packs a wallop.

There’s not a bad seat in this house.