The Toronto Symphony Orchestra's drive-in series is a savvy musical expedient during the COVID-19 pandemic that offers the sort of isolation and social distancing difficult to maintain in concert halls.

Max Richter mines the Universal Declaration of Human Rights of 1948 for inspiration in his reflective new album, Voices.

We met director François Girard in New York, to talk about the Met Opera's production of Wagner's Die Fliegende Holländer and the comparisons between film and opera.

A canary in a coal mine for the current state of classical music and overcoming sexual abuse: A deep dive into the classical music phenomenon of James Rhodes.

"Opera is an old art form. We’re trying to teach it new tricks" — Five key takeaways from Peter Gelb's 14 years as General Manager of the Metropolitan Opera.

The international recording industry is in panic catch-up mode in response to raves for Lang Lang’s performance of Beethoven’s Für Elise.

To call Leonard Cohen: A Crack in Everything a contemporary art exhibition is to suggest new ways of understanding Cohen’s very old soul have been found. Well, it doesn’t happen, maybe because this was mission impossible from the first.

The USD 100,000 paid yesterday for one of the scores Glenn Gould used for his 1981 recording of Bach’s The Goldberg Variations establishes a new benchmark.

In a plot with endless twists, Toronto audiences experience a world-famous production of Eugene Onegin, crafted by its own creative stars and owned and controlled by its very own opera house — for the very first time.