From the Panhandle to the Bayou City, homegrown classical music ensembles are our best-kept secret.
Take two Aspern: one a world premiere by the Dallas Opera, the other the Henry James novella on which the opera is based. Which is better for you?
The Houston Grand Opera was out to impress, with its new house and three ambitious productions in one week, but what it proved best was just how enjoyable this brand of theater can be.
Mary Jane Johnson and Timothy Jenkins live in Amarillo, but they’re at home in the world’s great opera houses.
A series of world premieres commissioned by the Houston Symphony Orchestra has brought a dash of fanfare to Jones Hall.
The Dallas Bach Society combines crackerjack musicians, a well-trained choir, and top-ranked vocal soloists—the result is a baroque-music lover’s dream.
Some new recordings of old symphonies reveal how the composers really wanted things to sound.
The only excitement of the Dallas Opera season came from a couple of fortunate gambles, while the Houston Grand Opera triumphed by bringing Faust alive for contemporary audiences.
The Ups and Downs of Theophilus Maitland had more ups than downs in Dallas, but Memorial Candles didn’t have much memorable melody.
Forget all that debate about early instruments versus modern ones for eighteenth-century music.
Sometimes the opera is over before the fat lady sings. Consider the successful debut of sixteen brief and eclectic works commissioned by the Texas Opera Theater.
A little gimmickry goes a long way toward making the Fort Worth Opera’s current season a success.
The octogenarian whom many believe to be the greatest living composer pays a long-awaited visit to Texas.
Using antique and original instruments like the viola da gamba, the Texas Baroque Ensemble is making Garland the place to hear early music in Texas.