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Concertgoers looked a little unsure as they walked through the doors of Stanford’s Dinkelspiel Auditorium last Saturday.

It is hard to imagine a musical repertory of more astonishing refinement than the one cultivated at the 15th-century Burgundian courts of Philip the Good and his successor, Charles the Bold.

At opposite sides of the Bay over the weekend, two productions of Giselle highlighted two ballerinas who are, in effect, at opposite ends of their careers. Nina Ananiashvili, artistic director of the State Ballet of Georgia and in her 40s, danced the title role Saturday night during the troupe's Cal Performances engagement at UC Berkeley's Zellerbach Hall.

An enthusiastic crowd packed Berkeley’s MusicSources Friday night to witness the U.S. debut of French harpsichordist Benjamin Alard. The buzz in Berkeley was no surprise, reflective of the enthusiasm Alard has engendered since winning first prize at the 2004 Bruges harpsichord competition when he was only 19 years old.

The classics are invading Berkeley's venerable folk-music coffeehouse, the Freight and Salvage. It started with one harmless Monday night per month. But on Feb. 12, the Freight added a second classical show for leap month: Solo Bach Night. Where will it all end?

What would happen if you took the “postmodern” project to its logical conclusion and eradicated the theoretical, conceptual, and practical boundaries between large genres of music like, say, classical, jazz, popular, sound experiments, and electronic composition?

What would happen if you took the “postmodern” project to its logical conclusion and eradicated the theoretical, conceptual, and practical boundaries between large genres of music like, say, classical, jazz, popular, sound experiments, and electronic composition?

What would happen if you took the “postmodern” project to its logical conclusion and eradicated the theoretical, conceptual, and practical boundaries between large genres of music like, say, classical, jazz, popular, sound experiments, and electronic composition?

What would happen if you took the “postmodern” project to its logical conclusion and eradicated the theoretical, conceptual, and practical boundaries between large genres of music like, say, classical, jazz, popular, sound experiments, and electronic composition?

Although Yuja Wang's recital program Sunday at Herbst Theatre was not the longest I have heard, it was definitely one of the more technically demanding and emotionally intense. The 20-year-old virtuoso played three sonatas in a row: Liszt’s monumental B minor; Scriabin’s Sonata-Fantasia, Op. 19; and Bartók’s Sonata from 1926.