Chameleon Arts Ensemble programed a polychrome mix of Mahler, Janácek, Beethoven, and Jeremy Gill at First Church Boston last night.    [continued]

Charles Peltz, together with various constellations of players, initiated a celebratory 50^th season by reprising its wide-ranging first-ever concert from 1969 at Jordan Hall on Thursday.    [continued]

Personal tributes and the favorite airs of renowned NEC choral conductor Lorna Cooke de Varon rang out in Jordan Hall last night, one year after her death at 97.    [continued]

Russian guest conductor Dima Slobodeniouk chose three 20^th-century pieces for this weekend’s Boston Symphony Orchestra concerts with cellist  Truls Mørk. Symphony Hall was far from full on Thursday.    [continued]

Sunday afternoon concert of Haydn, Billy Childs, Caroline Shaw, and Verdi quartets met the Gardner’s request for a “diverse and eclectic” program, which perhaps inadvertanly raised Verdi’s string quartet, the opera giant’s sole chamber work, to a rare importance.    [continued]

Consequence radiated from the Jordan Hall stage Friday during BMOP’s “The Roaring Twenties.” Along with a premiere and a centennial celebration for the Theremin, Artistic Director Gil Rose began, one hoped, the renaissance of John Alden Carpenter.    [continued]

Even without any apparent thematic glue, the BSO’s weekkend troika made for a satisfying bill: Sukkot Through Orion’s Nebula in its BSO premiere, the sixth time for the Shostakovich Violin Concerto, and the first for Má vlast since 2007.    [continued]

Phillip Bush won high marks for imagination in a well-played concert of American music from the years 1911-1922 at Seully Hall on Tuesday. Therein, he took up a cudgel for Ives’s Concord Sonata, one of the greatest classical compositions ever.    [continued]

Hong Xu, one of China’s most accomplished musicians, opened yet another of the notable Foundation for Chinese Performing Arts recitals at Jordan Hall. On Saturday night his mastery stretched this writer’s descriptive arsenal.    [continued]

Korean Cultural Society of Boston presented the voices and drumbeats of their nation, their people, their cultural soul at Jordan Hall on Sunday.    [continued]

The Concord Chamber Music Society’s 20^th-season opener at Concord Academy last Sunday afternoon was thoroughly satisfying.    [continued]

The Boston Lyric Opera’s immersive version of Ruggero Leoncavallo’s Pagliacci transformed the utilitarian Steriti Memorial Ice Skating Rink into a circus wonderland. Sung in English and Italian, this production, which opened Friday and continues through October 6^th, intensifies the realism and immediacy of the familiar verismo two-acter.    [continued]

Radius Ensemble’s Eventide contrasted compositions of three contemporary composers and reached back to Mozart’s 18^th-century Vienna in a wide-ranging menu at Longy last night.    [continued]

Andris Nelsons and the BSO accompanied Augustin Hadelich in the orchestra’s 232^nd performance of the Beethoven Violin Concerto. After the break at Symphony Hall last night came an extended domestic scene.    [continued]

Sarasa gave an unusual  cello(s) recital in the Harvard-Epworth United Methodist Church Saturday in which three of the Bach solo cello suites shared the stage with three-cello trios by Giacobbe Basevi Cervetto (c. 1682–1783), an Italian composer of Sephardic Jewish extraction who lived the second half of his enormously long life in England.    [continued]

Odyssey Opera continued its valuable exploration of neglected works, introducing one even few opera enthusiasts know: Saint-Saëns’s Henry VIII. Saturday’s audience for the concert performance at Jordan Hall discovered a treasure.    [continued]

Boston Artists Ensemble, the brainchild of cellist and artistic director Jonathan Miller, opened its season at St. Paul’s Church in Brookline Sunday with Mozart, Beethoven, and Janáček;  John Ferillo, the featured player in Mozart’s charming Quartet for Oboe and Strings in F, K. 370 lent the event a special appeal.    [continued]

The freshness and brilliance of Boston Chamber Music Society concert of classics Sunday at Sanders encouraged its listeners to reserve their tickets early for its next performance.    [continued]

The timely, poignant, and artistically satisfying I Am a Dreamer Who No Longer Dream, which premiered on Friday at the Emerson Paramount, allows some of Boston’s best up-and-coming female voices explore dislocation and transformation in America. The run continues Saturday and Sunday.    [continued]

Giselle triumphantly returned to open Boston Ballet’s 56^th season. It runs through September 29^th at the Citizens Bank Opera House.    [continued]

Opening Night for the Boston Symphony’s new season found Andris Nelsons leading a congeries of crowd-pleasing repertoire, a premiere, and a more-lavish-than-usual assortment of soloists, and choral participation.    [continued]

Leo Abbott presided as the Holy Cross Cathedral’s Hook & Hastings Organ returned to active life after two years of silence.    [continued]

Peter Freisinger recruited an international cast of DMAs, graduate students, and experienced professionals from all over the world for his 12^th-annual chamber orchestra fest at Old South Church. Sunday’s bill of fare came from an Italian and two Poles.    [continued]

The Maverick Concerts series extended its season Sunday afternoon in a special free concert, pianist Pedja Muzijevic’s “Bach Dialogues,”    [continued]

The Jamaica Plain Saxophone Quartet took the stage at MIT’s Killian Hall last Friday, launching the its AfterDark series with contemporary classical pieces tied to Boston.    [continued]