Steven Winn

American Bach Soloists completed its second evening devoted to “Versailles & The Parisian Baroque” at the San Francisco Conservatory of Music with a bit of drama.

The Merola Opera Program pairs a quiet take on Gian Carlo Menotti’s haunting short opera with a loud performance of Puccini’s Gianni Schicchi.

A transfixing performance by the dramatic soprano and great work from the chorus were the selling points for the Symphony's cap to the Beethoven Festival.

The four-and-a-half-hour marathon had everything except the composer himself.

The soprano’s performance of Arianna a Naxos lights up the room after an opening plagued with intonation and communication issues.

The period-instrument ensemble joins forces with fellows from the San Francisco Opera Center’s Adler Fellowship program to perform the Rossini opera.

The English tenor lent his voice to dark material at a performance of “The Music and Poetry of the Great War.”

Donizetti's buoyant comedy was transposed to 1950s America in Jose Maria Condemi's staging for Conservatory Opera Theatre.

It takes an orchestra as good as Philharmonia Baroque and a soloist like Rachel Podger to showcase Vivaldi’s protean imagination.

The mezzo soprano's recital in San Francisco with pianist Julius Drake offered rich payoffs in the middle of the program, oddities at the beginning and end.