Wolfgang Amadeus Mozart

The Cleveland Orchestra’s staging of Mozart’s “The Magic Flute” was a reminder that ensembles can help fill the gap as opera grows harder to find.

This week’s program was supposed to feature the orchestra’s principal oboe, but he and another player have been suspended amid misconduct allegations.

“The Chevalier,” an intriguing music-theater hybrid, unwraps the still little-known life and work of this 18th-century composer.

Mozart’s opera, tailored to families in this staging, is big on spectacle and let’s-put-on-a-show verve. What shines? Kathryn Lewek as Queen of the Night.

In Patrick Mackie’s “Mozart in Motion,” the socially observant composer embraces modernity.

In concerts and on dozens of recordings, she applied a delicate touch that critics said set her apart from other performers.

Michelle Wu, a lifelong pianist, has played to prepare for mayoral debates. Last weekend, she joined the Boston Symphony Orchestra onstage.

An excellent cast brings heat to Ivo van Hove’s austere, agile staging of Mozart’s classic, starring Peter Mattei and conducted by Nathalie Stutzmann.

Julie Taymor’s version of Mozart’s opera, a fairy tale of puppets and plexiglass, achieves its finest form in the Met’s condensed version for families.

As Ukraine battles to protect its power grid from Russia’s assault, its national philharmonic continues to perform in the dark.

A recent work by Andrew McIntosh, the latest undertaking by Igor Levit and a high-profile tribute to Mieczyslaw Weinberg are among the highlights.

With a score by the innovative electronic musician Jlin, Abraham’s dance has beautiful skeins of motion but lacks cohesive structure.

Víkingur Ólafsson made his Carnegie Hall debut with a hypnotically unfurling program based on his recent album “Mozart and Contemporaries.”

As he retires after 21 years as the chief classical music critic, Anthony Tommasini reflects on his very first article for The Times: a deeply personal essay about a friend.

Classics by Bach, Mozart and Brahms and new works by Andy Akiho, Angélica Negrón and Tyshawn Sorey were among our favorite recordings this year.

A winning cast opened the company’s holiday season with a trimmed, English-language version of Mozart’s classic.

A dark, enigmatic staging of Mozart’s opera brings together the director Romeo Castellucci and the conductor Teodor Currentzis.

A single year in Mozart’s career, a Florence Price focus and a fresh take on big-band music are among recent releases.

Emily Cox and Henry Rathvon, as always, bring us a brush with genius.

A scholar dared to complete violin sonata fragments left by the great composer. They’re featured on a new album.

Mr. Solomon probed the psyches of Mozart and Beethoven in critically acclaimed works; he was also a co-founder of an adventurous Vanguard record label.

Our critics and writers have selected noteworthy cultural events to experience virtually.

An 18th-century polymath has had his brilliant music and life diminished by a demeaning nickname.

We asked Mark Hamill, Condoleezza Rice, Mitsuko Uchida and others to pick the music that moves them. Listen to their choices.

Lincoln Center’s summer festival will also feature Jeanine Tesori’s opera “Blue,” about police violence.

New accounts of standard works, even those covered by dozens of classic recordings, can still enliven classical music.

An exceptional cast provides delights in this trimmed-down, family-friendly version of Mozart’s fairy tale opera.

At the Metropolitan Opera, Richard Eyre’s staging of the classic Mozart comedy seems imposing. But it comes off too mild.

Three deeply dissimilar works are unified by the wind, a fixture in librettos and in reality.

With orchestras rare in the early 19th century, today’s classics spread in quartet arrangements, a new recording shows.

Lincoln Center’s Mostly Mozart Festival presents a staging inspired by animated film and the style of Weimar Berlin.

The Morgan Library & Museum explores a dense, underappreciated period in the artist’s career in an exhibition of sketches, dioramas and more.

In a project by the house’s academy, Antonio Salieri’s opera “Prima la Musica e Poi le Parole” will be staged with Giacomo Puccini’s opera “Gianni Schicchi.”

In the city’s Central Cemetery, where Beethoven and Schubert lie, a company is offering music lovers the chance to join them for eternity.

The festival will feature a globally popular production of “The Magic Flute,” a new Mark Morris dance and a musical adaptation of a Langston Hughes poem.

Manfred Honeck led a Mozart program that dealt in themes of death and transcendence with an unusual version of the composer’s unfinished final work.

A slew of house debuts add a few notes of interest in Michael Grandage’s drab take on Mozart’s masterpiece.

Julie Taymor’s production of Mozart’s opera, performed in English by a winning cast, returns in family-friendly form.

Kirill Serebrennikov, under house arrest in Moscow, is staging a production of “Così Fan Tutte” in Zurich through a process closer to espionage than traditional theater.

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

Our critic helps intimidated newcomers learn what to listen to, where to hear it and how to find more of what you like.

In restoring a work left unfinished at the composer’s death, he sought to achieve “a closer and more conscious understanding of the Mozartean spirit.”

A Mozart staging set in 1950s Coney Island had its premiere days after Mr. Levine was fired when an investigation found evidence of sexual misconduct.

The Metropolitan Opera’s new production of Mozart’s “Così Fan Tutte,” set in 1950s Coney Island, uses sideshow and burlesque performers.

While the program of Mozart, Tchaikovsky and Haydn, led by the pianist and conductor Jeffrey Kahane, was finely executed, it felt safe and predictable.

Performances of “Le Nozze di Figaro” and “Norma” provided a glimpse at the post-Levine company, and offered reflections of social and political upheaval.

Gil Shaham, a vintage Kennedy Center Honors and a quartet based on "Amazing Grace" are among the highlights.

The Mostly Mozart Festival Orchestra partnered with So Percussion, the brilliant percussion quartet, for an exhilarating David Lang concerto that used found objects.

Mr. Peskanov, the artistic director of the floating concert hall on the East River, will perform two sets on violin.

The Calidore String Quartet, winners of a $100,000 chamber music prize last year, played Mozart and Ligeti at the Rose Studio at Lincoln Center.

In a most unusual audition at the Met, a bearded, pierced, tattooed strongman picks up the director — using only his mouth.

A new kitchen timer bursts into the composer’s Piano Sonata No. 11 when it’s time to check on the food.

Lincoln Center’s Mostly Mozart Festival will include a staged version of Hans Zender’s orchestration of Schubert’s “Winterreise.”

Programming ambition and poise, with flashes of visionary episodes, in thoughtfully constructed concerts at Carnegie Hall.

The schedule includes a starry, new “Tosca”; a premiere of Thomas Adès’s “The Exterminating Angel”; and a Mozart work set in Coney Island.

The Italian composer and pianist talks about his sold-out concerts, his African influences and playing in the Arctic.

This 100-minute English-language version is tailored to families around the holidays.

I barely listen to classical music, so how did a live string quartet end up in my apartment on a Saturday night?

The New York Philharmonic and the Salzburg Mozarteum Orchestra presented back-to-back performances.

Peter Sellars on his Reagan-era staging of “Le Nozze di Figaro” (1988), why he chose the setting, and what Mozart was saying about money, class and power.