Steven Winn

The S.F. Opera opened its 92nd season with Bellini’s bel canto masterpiece, Norma, featuring powerhouse soprano Sondra Radvanovsky in an full of pomp and circumstance and vocal delights.

Music competitions are the way many elite musicians have to prove themselves. But what are they proving, and is it worth it?

In its crossing from Broadway to opera house, the S.F. Opera Show Boat, in many ways a natural cross-over vehicle, shows some strain.

Great exaltations ring out through Oakland's Paramount Theatre when the Oakland East Bay Symphony and Oakland Youth Orchestra ssemble for a performance of Berlioz’ stupendous Requiem.

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.

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

The West Edge Opera's Caterina Cornaro proves to be an unjustly neglected lyric tragedy from the Donizetti’s late period, a rare presentation of the opera that merits a more sustained rediscovery.

In a joint presentation of a program seas apart, the New Century Chamber Orchestra and Chanticleer set out to explore the rich musical era between the two world wars.

The 5-year-old Hot Air Music Festival’s burgeoning abundance was evident in all the music on tap; old and young alike experiencing the unrivaled charge of new music heard live.

The American Bach Soloists, conducted with excellence by Jeffrey Thomas program works that demonstrate Bach's mastery of "parody" — making things old new again.