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For the past year-plus, the New Century Chamber Orchestra has been auditioning prospective artistic directors to replace the departed Krista Bennion Feeney, the orchestra's leader from 1999 through 2006. The search is nearing its end — the winner is to be announced at the orchestra's "Evening Serenade" benefit performance Nov.

I thought I knew Olga Borodina’s voice pretty well. But then I discovered myself seated in second row center of Zellerbach Hall. Sitting that close to the Russian mezzo, the glories of her instrument were nigh overwhelming. Even as she was on the mend from the audible and visible affects of bronchitis, Borodina’s voice radiated magnificence.

Ensembles generally slumber through the Haydn quartets, which are often relegated to opening-number status and overshadowed by those giant works from Beethoven that so often follow them. Not so with the New Esterházy Quartet, a young ensemble devoted, as its name implies, to the works of Haydn.

Virtuoso lutenists enjoyed privileged positions in Renaissance Europe. They were held in high esteem, were well-paid by princes and kings, and often had magical effects ascribed to their performances.

An institutional rarity, the Ives String Quartet is its own nonprofit corporation, and produces its own "Home Series" Bay Area season of concerts. Currently, these include three programs played twice, at St. Mark's Church in Palo Alto and at Le Petit Trianon Theatre in San Jose.

Despite its rare appearance in concerts today, it takes little effort to grasp why William Boyce's Solomon enjoyed such extraordinary popularity during the second half of the 18th century.

Despite its rare appearance in concerts today, it takes little effort to grasp why William Boyce's Solomon enjoyed such extraordinary popularity during the second half of the 18th century.

San Francisco Classical Voice has often reported on how the Bay Area’s smaller opera companies are continuing to grow and to prosper. There are now at least 22 such companies, according to a recent SFCV survey.

The San Francisco Symphony, flush with the success of its European tour, played the opening subscription concert Wednesday to a fair number of empty seats. I was surprised to see this, given the orchestra's praiseworthy recent Mahler interpretations.

Mozart Dances, which finally arrived here via Cal Performances last Thursday, achieved the impossible by exceeding its rapturous reviews. Jane Glover, conducting the Berkeley Symphony Orchestra and joined by Garrick Ohlsson and Yoko Nazaki on piano, gave a performance of warm dynamics and perfect unity.