Critic’s Notebook: At Salzburg Festival, Two Bold Directors Claim Their Stages

Lydia Steier’s “The Magic Flute” riffs on “The Princess Bride” and Hans Neuenfels’s “Pique Dame” explores the privileges money can bring.

Review: Mark Morris’s New Pastoral Says Less Than Its Music

A Mark Morris world premiere, part of the Mostly Mozart Festival, is awkward and has much less to say than the Schubert work it’s paired with.

That Decisive Moment: Turning Climate Crisis Into Sound: The Week in Classical Music

A new work by Ashley Fure and a Mark Morris dance to Schubert were among the highlights.

Critic’s Notebook: Lincoln Center Still Has Mostly Mozart, but What Is It?

The center has overhauled its summer offerings. But its signature festival is now suffering from an identity crisis.

As Brexit Looms, Musicians Brace for the Worst

Britain’s classical music scene relies heavily on freedoms that come from European Union membership. How will it cope outside the bloc?