Reviews

The pulse of the West Edge Opera's Aroldo may have been a bit uneven, but there was no doubt that the opera is Verdi’s living, breathing, creation worthy of a live encounter.

Eric Zivian unleashes a fascinating musical lesson about how the piano’s technical evolution has freed certain composers’ imagination.

The SFS is currently on two weeks of ‘Bach camp,’ delving into the music of father J.S. and son C.P.E Bach under the guidance of Dutch conductor Ton Koopman.

Before a a thrilled audience, as though she could do no wrong, mezzo-soprano Stephanie Blythe dedicated her take-no-prisoners voice to a winning program of French song and American popular classics from the 20th century.

A single concert from the Berkeley Symphony is proof that an orchestra with a smaller budget and acoustically challenged venue can be more interesting than an entire season of more richly endowed orchestras.

Liam Scarlett’s Hummingbird, which had its world premiere at the San Francisco Ballet Tuesday night, is almost shockingly wonderful.

The Hamelin Trio’s recital is happily saved by a pinch-hitting clarinetist who blended superbly with Marc-André Hamelin and Anthony Marwood.

A double-bill from Festival Opera of The Emperor of Atlantis and Another Sunrise features striking music and world-class acting and singing.

Guest conductor James Conlon led the S.F. Symphony a standout piece by composer Erwin Schulhoff and notable performances by Jean-Yves Thibaudet and Mark Inouye.

With music from the Philharmonia Baroque Orchestra and Chorale conducted by Nicholas McGegan, Acis and Galatea, a Cal Performances co-production and world premiere is a delight.