Steven Winn

Gautier Capuçon transports the audience with his poetic playing of a Dutilleux work, inspired by lines from Baudelaire.

The San Francisco Symphony’s Keeping Score programs have broken new ground, both in the stories they tell and in the way they present live performance onscreen.

The Berkeley Symphony Orchestra closed its 2010-2011 season with a concert at Zellerbach Hall that both segregated and showcased the ensemble’s considerable musical assets.

The Vienna Philharmonic, one of the world’s great orchestras, plumbs the depths and heights of Mahler’s Symphony No. 6, in its final Berkeley performance Sunday.

San Francisco Symphony violist Jonathan Vinocour suddenly finds himself with just the right experience to play the solo in Rothko Chapel — he’s been there.

An S.F. Symphony program that looked uncannily symmetrical, concerts that began and ended with the best known works of each of the composers, offered rich and gratifying music and an orchestra under David Robertson’s baton in sweet accord.

Bucking nationwide trends, the city by the Bay's premier orchestra worked its way to the top of the symphonic world and improved its financial health, while reaching thousands of new listeners.

Twice, in Sunday’s all-star-name evening of string trio music at Davies Symphony Hall, the center held.

The great long arc of the San Francisco Symphony’s Mahler Project comes to a gentle, soft landing with Songs With Orchestra, the final CD of an unprecedented undertaking.

Music@Menlo opened a broad umbrella for “La Ville Lumiere: Paris, 1920–28,” with composers as various as Milhaud, Prokofiev, Fauré, Copland, Antheil, Ravel, and Gershwin all gathered underneath. Variety, in both style and delivery, proved to be the prevailing spirit of Saturday’s musically sprawling program.