Benjamin Britten's Curlew River, a comparative rarity in that composer's catalog, presented by Cal Performances, offered two performances of an acclaimed production that originated in London and is now touring the United States.

Colorful and imaginative orchestral works dominate at a concert in which the younger composers outshine the elder master Philip Glass.

Cellist Matt Haimovitz suits the age-of-anxiety mood of Philip Glass’ cello concerto, based on his movie score and recently expanded to concerto dimensions.

In a program apparently designed to show off the glorious Symphony Chorus, this week's Poulenc and Berlioz extravaganza, led in masterly fashion by guest conductor Charles Dutoit, is a majestic occasion.

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.

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.

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.

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.

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.