San Francisco

After four years away, the company is back at Herbst Theatre with a new production that blends tradition and experimentation.

Benjamin Britten’s opera is pleasant if mostly uninteresting, like its titular hero.

Emma O’Halloran’s techno-tinged music clothes the drama perfectly in tales of Dublin’s downtrodden.

Jazz, spirituals, and classical song merge in an intriguing crossover event.

Michel van der Aa’s elusive and subtle work is brilliantly realized at Cal Performances.

From audience behavior and revenue to questions of repertoire and representation, arts leaders have a lot on their plates currently.

The latest recording release from the New York Festival of Song spotlights tenor Joshua Blue and the American activist tradition.

Benjamin Millepied’s loose adaptation of the classic comes to West Coast theaters, while CAAM is gearing up for its annual festival.

Luxuriously cast, expertly directed, and conducted with fiery abandon by Richard Egarr, the show made the case for Handel’s fifth Italian opera.

The 2024 season is the first devised by Artistic Director Tamara Rojo, and there are changes in the administration as well.