Winter Classical-Music Preview


After final 12 months’s season of deprivation, classical presenters are rebounding with a feast of winter occasions that present acquainted comforts and a few stunning delights.

The Metropolitan Opera undertakes its second twenty-first-century opera in as many months, Matthew Aucoin’s “Eurydice” (Nov. 23-Dec. 16). Then it pivots to a time-tested vacation recreation plan, condensing Laurent Pelly’s dreamy manufacturing of Massenet’s “Cendrillon” into an English-language, family-friendly attraction (Dec. 17-Jan. 3) earlier than unveiling Bartlett Sher’s Art Deco-inspired tackle “Rigoletto” on New Year’s Eve.

The New York Philharmonic’s annual “Holiday Brass” live performance returns, in all its refulgence, to Alice Tully Hall (Dec. 16-18). The Oratorio Society of New York and Musica Sacra every deliver their very own COVID-friendly abridgment of Handel’s everlasting oratorio “Messiah” to Carnegie Hall (Dec. 20 and Dec. 21, respectively).

At the 92nd Street Y, Jeremy Denk, whose memoir, “Every Good Boy Does Fine,” comes out in February, performs Book I of Bach’s “Well-Tempered Clavier” (Dec. 4), and the violinist Randall Goosby performs Florence Price (Dec. 9). In Morningside Heights, Miller Theatre resumes in-person actions with a “Composer Portraits” live performance of Kati Agócs’s work (Dec. 9), and the magnificent Cathedral of St. John the Divine hosts free occasions by the Orchestra of St. Luke’s (Nov. 19) and the American Symphony Orchestra (Dec. 16).

The Prototype Festival, marking ten years of significant modern opera and music theatre, rushes into the classical calendar’s post-holiday vacuum with a barrage of premières (Jan. 7-16). The drag artist and MacArthur “genius” grant recipient Taylor Mac portrays Socrates in “The Hang,” a queer reimagining of the thinker’s last hours, and the hip-hop-jazz band Soul Inscribed recounts the historical past of marijuana in “Cannabis! A Viper Vaudeville.”

A gentle stream of stars, together with Igor Levit (Jan. 13), Maxim Vengerov (Jan. 20), and Renée Fleming (Jan. 23), move by way of Carnegie Hall’s gilded proscenium, and the painterly pianist Víkingur Ólafsson makes his anticipated début in Zankel Hall (Feb. 22). The Chamber Music Society of Lincoln Center offers the New York City premières of Marc Neikrug’s chamber opera “A Song by Mahler” (Feb. 17) and Anna Clyne’s string quartet “Breathing Statues” (March 24). Death of Classical, which has one live performance sequence in a crypt and one other in a catacomb, reveals a 3rd subterranean house, beneath St. George’s Episcopal Church, for “The Cave Sessions,” inaugurated by the violinist Jennifer Koh (Feb. 8-28). ♦



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