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Feats, farewells and musical treasures in a year of post-pandemic financial pressures.
Begun to improve his own technique, piano exercises that Glass wrote over decades are the subject this month of a new book, a concert and dances.
The staged premiere of her new work “Indra’s Net” in Amsterdam comes as a set of recordings offers a retrospective of one of our most humane artists.
The choreographer Benjamin Millepied’s directing debut is an of-the-moment but scattered take on a classic love story.
As the longest-running musical in Broadway history closes, Times critics with a lasting affection for the show take stock of its legacy.
The director Phelim McDermott, who has acted like a visual translator of Glass’s music, pays tribute to the composer in their show “Tao of Glass.”
Mary-Mitchell Campbell, the series’ new music director, will lead a restored performance of “Dear World,” starring Donna Murphy.
“Life of Pi” and Laura Linney on Broadway, Lise Davidsen at the Met Opera, SZA on tour: Here’s what we’re looking forward to this season.
At New York City Ballet, Peck’s “Copland Dance Episodes” brings the composer’s three classic ballet scores under one roof, at last.
The multihyphenate pop star will compose her first ballet score for the Fall Fashion Gala at New York City Ballet in September.
Since his first production a quarter-century ago, the director has honed a process defined by tight schedules and bold, decisive changes.
In Paris, a new production of “A Quiet Place” makes a strong case for a work that has long struggled to join the repertory.
A principal dancer since 2009, Reichlen will make her final appearance in George Balanchine’s one-act “Swan Lake” on Feb. 19.
For several years, the composer Matthew Aucoin corresponded with Sarah Ruhl about how to adapt her play into the Met Opera’s latest premiere.
Lypsinka, the alter ego of John Epperson, a longtime pianist for Ballet Theater, will perform as part of the company’s inaugural Pride Nights.
After a long pandemic pause, “The Phantom of the Opera” is returning to Broadway with some help from its creator.
Francesca Zambello, who has overseen a dozen editions of the opera festival in upstate New York, will depart next summer.
“Sun & Sea (Marina),” an operatic installation that won the top prize at the Venice Biennale, is being staged at the Brooklyn Academy of Music.
This summer, three European productions, previously available to American audiences only online, were at last accessible in person.
“What Happened?: The Michaels Abroad” is the 12th and final installment in the quiet yet sweeping “Rhinebeck Panorama.”
Barrie Kosky’s new production for the Berliner Ensemble, at the theater where the famous work premiered, knows where to break the rules.
Luigi Nono’s furiously political and prophetic “Intolleranza 1960” arrives at the Salzburg Festival.
Adam Guettel’s genre-clashing song cycle has taken on many forms. The latest: a starry online mini-series.
Weill’s early, Weimar-era works reveal the qualities that found a natural home in his golden age American musicals.
The production, which examines the work’s colonial legacy, opened after the far right accused the Paris Opera of “antiracism gone mad.”
“Shipwreck,” a fantasia about white liberals and the president’s infamous dinner with James Comey, has been adapted into an audio play.
Uncertainty about the coronavirus and the challenge of protecting audiences and artists is prompting many prominent presenters to wait till next year.
Matthew Aucoin and Sarah Ruhl have adapted “Eurydice,” her play about the Orpheus story, for Los Angeles Opera. Next stop: New York.
Love it or hate it, Andrew Lloyd Webber’s musical is one of the most popular of all time. Before the new movie adaptation comes out, catch up on its four-decade history.
A roundup of events in every borough, from the Radio City Christmas Spectacular in Manhattan to the annual Holiday Train Show in the Bronx.
Among the highlights are a commission for Bill T. Jones, a staging of Monteverdi by Pierre Audi, and Alex Lawther in “Hamlet.”