Georgia Rowe

A ripe-to-bursting Mozart opera, rarely performed, dallies in the garden of earthly delights, peopled by stalwarts of S.F. Opera’s Merola Program.

Two rarely staged works, by Szymanowski and Rossini, add luster to Santa Fe Opera’s superb season.

Sins of the flesh, and of the blackjack table, provide reasonably entertaining fodder in a new double-bill in El Cerrito.

Michelle DeYoung returns to San Francisco to sing a favorite role — Judith, wife of Bluebeard, who learns some things she might in retrospect rather not have in Béla Bartók's early opera Duke Bluebeard's Castle.

John Adams’ opera has outlasted its critics and finally makes it to San Francisco, thanks to its original commissioner, David Gockley.

The Finnish conductor Osmo Vänskä returns to the S.F. Symphony with violinist Hilary Hahn, and the results with the orchestra are, once again, exemplary.

The N.Y. Philharmonic arrived bearing gifts over the weekend as part of the S.F. Symphony’s American Orchestra Series, and the rewards were manifold.

When Dawn Upshaw made her long-awaited return to Herbst Theatre, the great American soprano arrived looking relaxed and sounding radiant in a brilliant bouquet of short works spanning the centuries.

That consummate pianist Richard Goode more than delivers the goods on Mozart, Beethoven, and Chopin.

Directed by Marin Alsop, the Baltimore Symphony and UC Choral Ensembles perform a noted oratorio scored to accompany a classic silent film about Joan of Arc.