Steven Winn

S.F. Opera’s new commission transcends its limitations with sumptuous staging and beguiling performances.

The North American premiere of a 1734 Handel serenata is an interesting glimpse of the composer fulfilling his duties as unofficial court composer. Eyes and ears were on some of the strongly cast soloists.

Thomas Adès’ early masterpiece has lost none of its shock value, but there is serious musical and dramatic entertainment, exploited to the full by West Edge Opera.

Anne Sexton’s dark, wordy libretto is buoyed by strong performances and Conrad Susa’s score.

Calixto Bieito’s setting of Bizet’s classic explores the corrosive effects of doomed love.

The semistaged production cleverly transcends limits and delivers an exuberant reading of Bernstein’s score.

The popular mezzo-soprano justifies her adulation in a standout performance of an eerie Berlioz cantata.

Music Director Alan Gilbert’s muscular approach made a tame program exciting and fresh.

The heralded composer’s much-anticipated premiere was just one gem in a dazzling evening of sonic and temporal connections explored by Pablo Heras-Casado and the S.F Symphony.

Singing the praises of Mendelssohn’s underrated “Hymn of Praise” symphony in a powerhouse performance by Philharmonia Baroque and an augmented Philharmonia Chorale.