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Musical genres are concepts that may be crawling toward extinction in the new millennium, or so pianist Billy Childs believes. Looking to a more integrated era, he’s positioning his jazz quartet alongside the classically trained Kronos Quartet for the premiere of his commissioned composition, on Sept. 18 at the Monterey Jazz Festival.

A Crimson Grail was premiered at the Basilica of Sacré-Coeur, after a commission by the city of Paris. Rhys Chatham’s piece consciously makes use of the architecture’s 15-second reverberation time. The musicians surround the audience, creating a live, surround-sound experience. The Paris-based Chatham wrote the piece for a variable number of electric guitarists and bassists (astonishingly, up to 400), plus a single percussionist. The Nonesuch recording captures the work’s Lincoln Center performance.

Chamber Music Day, Live + Free, 2010 — the fourth annual festival of the compositional and performance form with the intimate yet elastic definition of music that fits between four walls, with a single musician playing each part — will take place all afternoon on Sunday, Sept. 12.

Soprano Ellen Hargis will give three recitals with lutenist Paul O’Dette across the Bay Area in a program, titled “Wait! I’m Singing Now…,” featuring the music of Strozzi, Kapsberger, Scarlatti, Cesti, and Piccinini. SFCV asked Hargis about her love of early music, the challenges of balancing singing and teaching, and what it’s like to work as an early-music star in a modern world.

Symphony concerts are good places to bring friends. There’s excitement, variety, time to talk at intermission, a focal point to the evening, and a chance to do something together afterward. The fall season in the Bay Area is crammed with goodies everyone can love. 

Choosing a concert geared for the entire family can be tricky, yet local ensembles and presenters are going out of their way this fall to design the tastiest classical kid’s-menu possible. Here are a few that are sure to be of interest to both the younger and older sets, introducing music, soft serve. 

Known for presenting the classics and nurturing emerging singers, Opera San José generally steers clear of contemporary works. Undaunted by audience reaction to modern pieces, General Director Irene Dalis decided to roll the dice and mount a $1 million production of Anna Karenina.

Among my umpteen Merola Program closing concerts — all memorable in various ways — Saturday’s was one of the most enjoyable. Programmed, directed, and performed with care and effectiveness, this was what opera doesn’t always manage to be: delightful entertainment.

San José-based Lyric Theater is taking a chance on a San Francisco venue: the Southside Theater at Fort Mason. They’re bringing a forgotten operetta, Leo Fall’s The Dollar Princess, which was a hit on Broadway in 1909 in an English revision.