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The American South’s voice for Classical Music
· Mark Gresham, publisher & principal writer ·

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Thursday, 27 August 2026
in Atlanta, Georgia - USA
"Originality is not the absence of influence, but the courage to transform it." ~Pablo Picasso

Symphony & Opera

National Symphony Orchestra of Ukraine, Volodymyr Sirenko, conductor, performing at Schwartz Center for Performing Arts, Emerson Hall, February 16, 2024. (credit: Bill Head)

National Symphony Orchestra of Ukraine delights with classical gems and folk-inspired symphonic fare, from Bortniansky to Sibelius.

Mark Gresham · February 21, 2024
Silk Road Ensemble (credit: Adam Gurczak)

Schwartz Center unveils its 2024–25 Candler Concert Series, Jazz Fest

EarRelevant Staff · February 19, 2024
Robert Spano. (credit: Jason Thrasher)

Robert Spano named music director of Washington National Opera

EarRelevant Staff · February 12, 2024

l-r: Marjorie Owensas Elektra and Angela Meade as Chrysothemis in "Elektra" at The Dallas Opera. (credit: Kyle Flubacker)

Blood, Revenge, and Madness: Dallas Opera delivers an intense, gothic “Elektra”

Gregory Sullivan Isaacs · February 12, 2024
A scene from the Atlanta Baroque Orchestra's production of "Dido and Aeneas" at Glenn Memorial UMC. Andréa Walker as Belinda (far left), Brian Giebler as Aeneas (center), Hannah De Priest as Dido (right, seated). (credit: Jon Ciliberto)

Atlanta Baroque Orchestra brings an array of talent to bear in Purcell’s “Dido and Aeneas”

Jon Ciliberto · February 7, 2024
The Omaha Symphony Orchestra onstage at the Strauss Performing Arts Center, University of Nebraska-Omaha, on February 4, 2024. (credit: William Ford)

Omaha Symphony navigates acoustic challenges in a concert of mixed artistic success

William Ford · February 6, 2024

Donald Runnicles, conductor, and Alexi Kenney, violin solo, with the Dallas Symphony Orchestra performing Sibelius' "Violin Concerto" at the Meyerson Symphony Center, February 1, 2024. (credit: Dallas Symphony Orchestra/Sylvia Elzafon)

Runnicles and Kenney, Dallas Symphony’s dynamic Sibelius concert hit by alarming interruption

Gregory Sullivan Isaacs · February 5, 2024
ASO principal percussionist Joseph Petrasek solos in Adam Schoenberg's "Losing Earth," with guest conductor Gemma New and the Atlanta Symphony Orchestra, February 1, 2024. (credit: Raftermen)

Astrological insights and persuasive percussion: Atlanta Symphony Orchestra delivers an evening of cosmic artistry under Gemma New

Mark Gresham · February 3, 2024
Boston Symphony Orchestra at Symphony Hall, Thursday, Jan. 25, 2024, in Boston. (credit: Winslow Townson) Lady Macbeth of Mtsensk Andris Nelsons, conductor Kristine Opolais, soprano (Katerina Izmailova) Brenden Gunnell, tenor (Sergei) Peter Hoare, tenor (Zinovy Izmailov) Günther Groissböck, bass (Boris Izmailov and Ghost of Boris) Michelle Trainor, soprano (Aksinya) Alexandra LoBianco, soprano (Female Convict) Maria Barakova, mezzo-soprano (Sonyetka)^ Matthew DiBattista, tenor (Teacher) Neal Ferreira, tenor (Foreman) Charles Blandy, tenor (Foreman & Drunken Guest) Yeghishe Manucharyan, tenor (Foreman & Coachman) Alexander Kravets, tenor (Shabby Peasant) David Kravitz, baritone (Millhand) Brandon Cedel, bass-baritone (Porter & Policeman) Joo Won Kang, baritone (Steward) Patrick Guetti, bass (Officer and Sentry) Goran Juric, bass (Priest) Anatoli Sivko, bass (Chief of Police) Dmitri Belosselskiy, bass (Old Convict)^ Tanglewood Festival Chorus  James Burton, conductor Benjamin Richter, staging coordinator

Boston Symphony Orchestra’s ambitious concert performance of Lady Macbeth of Mtsensk delivers musical and dramatic excellence

Karl Henning · February 1, 2024

conductor Gemma New. (credit Roy Cox)

Gemma New shares insights on artistic growth and embracing new voices ahead of Atlanta Symphony concerts

Melinda Bargreen · January 29, 2024

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