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Khatia Buniatishvili, sometimes compared with Martha Argerich, proudly represents her Georgian culture and has special feelings for Rachmaninov.

Canadian soprano Karina Gauvin has made her mark in two contrasting art forms: Baroque repertoire, in which she excels in rapid-fire coloratura, and song, in which her gift for lyric expression comes to the fore.

British choreographer Russell Maliphant's evening-length After Light, a meditation on the artistry and influence of Vaslav Nijinsky, touches on Nijinsky’s role as one of classical ballet’s greatest dancers, as well as the breakaway invention of his hotly controversial Afternoon of a Faun.

Akram Khan, who credits his international brigade of dancers as collaborators, draws inspiration from Sufism and the Persian poet and mystic Rumi.

The Kirov Ballet, based in St. Petersburg (formerly Leningrad), has reverted to calling itself the Mariinsky Ballet, but its Swan Lake, choreographed in 1950 by Konstantin Sergeyev and based, of course, on the 1895 Petipa/Ivanov version, prevails, uninterrupted by the vagaries of history.

Starting to settle into its beautiful new hall, with its superb acoustics, the Santa Rosa Symphony launches its current season with high hopes and fine playing.

The always-intriguing Ives Quartet plays a quirky Cowell work, an emotionally gritty Smetana, and an ethereal Haydn.

Rudolf Nureyev, ballet’s first modern superstar, was as fastidious and driven about his costumes as his dancing. A new exhibition at the de Young Museum helps to tell the story of his impact on ballet.