Steven Winn

The Academy of St. Martin in the Fields fielded a great soloist on Sunday, but missed a conductor’s attention.

The “opera in jazz” follows the life of aging, dementia-scarred prize fighter Emile Griffith.

Less musically brilliant than the Rossini favorite, Giovanni Paisiello's Barber of Seville still provided plenty of sparkle and musical comedy.

The orchestra welcomed fortepianist Kristian Bezuidenhout as soloist in an all-Mozart program.

A harrowing performance of the final duet of Eugene Onegin made this gala far more than a parade of star turns.

The Conservatory’s “by the Brook” Carmen was a vital emotional experience.

Pageantry there is, but the S.F. Opera’s production of Wagner’s Meistersinger von Nürnberg reveals the small, human moments that make this comedy timeless.

The Greek violinist joined the S.F. Symphony for an all-Sibelius segment of the program, which also included Schumann’s Symphony No. 3.

It was the lesser-known of three piano quintets that shone in an inspired performance.

S.F. Opera’s brings Japanese artist Jun Kaneko’s reimagining of the Mozart classic back for a 10-performance run.