Lisa Hirsch

While it’s hard to explain the artistic alchemy that makes Robert Wilson and Philip Glass’s opera a success, it is surprisingly entertaining in the theater.

The Cabrillo Festival celebrates 50 with an engaging program: a road-racer, a mult-cult piece by Golijov, a Harrison symphony, and a commissioned work by a mere youngster.

Strongly cast, beautifully played and produced, the opening performance affirmed Nixon in China's standing as a musical and theatrical masterpiece and one of the great operas of the 20th century.

The Easter story comes alive through American Bach Soloists’ stylish, spirited performances of contatas and oratorios.

A semistaged production of Debussy's Martyr offered transporting performances, retaining spectacular elements of the original work, while emphasizing its beautiful music and religious mystery.

The Boston Symphony Orchestra’s visit, marking the return of the great orchestra after a 15-year absence, offered the Bay Area its first look at Ludovic Morlot. And what a look it was.

James Conlon led a thrilling performance of the Verdi Reqiuem, one of sweeping power, by turns terrifying, tender, and moving; succeeding brilliantly in bringing the performers together and making a musical and dramatic whole out of a work that is all too easy to fumble.

A wind quintet formed by members of the Berlin Philharmonic plays works by great Czech composers with panache and flair.

It’s “Thomas Adès Time” in the Bay Area, as the composer/pianist and the Calder Quartet perform a few of his works, ranging from lyrical and playful to formidably complex.

A recital of wind quintet pieces that ought to have enticed seems hampered by inconsistent execution and odd programming choices.