John Adams conducts the Symphony Orchestra and Chorus of the Gran Teatre del Liceu in the European premiere of his opera Antony & Cleopatra, starring Julia Bullock as Cleopatra and Gerald Finley as Antony, at the Gran Teatre del Liceu in Barcelona on Saturday. Performances run through November 11. “Some of the most radiantly beautiful music in the composer’s catalog,” the San Francisco Chronicle said upon the San Francisco Opera’s world premiere performances of Antony & Cleopatra last year. “The music is rich, evocative, and full of intricately crafted detail.”

Last year, Nonesuch Records released John Adams Collected Works, a forty-disc box set featuring recordings spanning more than four decades of the composer’s career with the label. Finley and Bullock can be heard on the set, as Robert and Kitty Oppenheimer, in the Grammy-nominated first recording of Adams’s opera Doctor Atomic.

Bullock’s 2022 debut solo album, Walking in the Dark—for which she won the Netherlands’ Edison Klassiek Award for Solo Vocalist and Germany’s Opus Klassik Awards for Breakout Artist of the Year—includes a song from John Adams’s El Niño, as well as Barber’s Knoxville: Summer of 1915, songs by Oscar Brown, Jr., Billy Taylor, Sandy Denny, Connie Converse, and more. She is joined on the album by London’s Philharmonia Orchestra, with whom she performs in the UK in November. Bullock tours the US performing her version of Adams’s El Niño this holiday season.

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Cécile McLorin Salvant and her quartet—bassist Yasushi Nakamura, pianist Savannah Harris, and drummer Kyle Poole—bring music from her new album, Mélusine , and more to the antipodes with a set in the Arts Center Melbourne’s Hamer Hall on Sunday, as part of Melbourne International Jazz Festival. That follows shows in Brisbane and Wellington earlier this week and precedes stops in Sydney and Perth next week. Salvant, who has just won the Edison Jazz Award for International Vocalist and was named Female Vocalist of the Year in the DownBeat Critics Poll, “has already far transcended her early status as her generation's most imaginative and thrilling jazz interpreter,” says SPIN naming Mélusine, one of The Best Albums of 2023 (So Far).

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Michelle Branch closes out her fall The Trouble with Fever tour with a show at the House of Blues in New Orleans tonight. “The Trouble with Fever is Branch’s most lush album to date,” says American Songwriter, “with buoyant, string laden instrumentation and candid lyrics.”

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Guitarist Mary Halvorson joins pianist Sylvie Courvoisier for duo sets at Espace Découverte at Philharmonie Luxembourg in Luxembourg City tonight and AMR in Geneva on Saturday. Earlier this year, Halvorson’s 2022 Nonesuch debut albums, Amaryllis & Belladonna, were named Jazz Album of the Year, and Halvorson herself Guitarist of the Year in the DownBeat Critics Poll. Jazziz calls the albums “some of the most accomplished writing of Halvorson’s meteoric career.”

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Composer, singer, and multi-instrumentalist Ben LaMar Gay and his quartet—guitarist/vocalist/flutist Will Faber, tubist/vocalist/flutist Matthew Davis, and percussionist/flutist Tommaso Moretti—perform at Public Records in Brooklyn on Sunday. On his 2021 album, Open Arms to Open Us, released on International Anthem / Nonesuch Records, Gay interweaves jazz, blues, ballads, R&B, raga, new music, nursery rhyme, Tropicália, two-step, hip-hop, and beyond, living up to NPR's claim that “there is no one universe for Ben LaMar Gay, he just sonic booms from one sound to another.” Pitchfork calls the album “a remarkable piece of musical pathfinding, sprawling in its ambition and surprisingly precise in its attack.”

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The Magnetic Fields’ Stephin Merritt joins Amanda Palmer, John Cameron Mitchell, Suzanne Vega, and more at a sold-out City Winery in New York City on Sunday for Remembering Sinéad, a tribute concert to the late singer and activist Sinéad O’Connor, with proceeds benefitting Bring Change to Mind and the Emma Swift Mental Illness Recovery Fund.

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Sarah Kirkland Snider’s Mass for the Endangered is performed by Verdigris Ensemble at Dallas Contemporary in Texas tonight, Saturday, and Sunday as part of the museum’s three-day exhibit, The Endangered, which highlights cultural efforts to preserve the planet and showcases stunning images of plants and animals native to Dallas, along with music and poetry created by local artists. Mass for the Endangered is a celebration of, and an elegy for, the natural world—animals, plants, insects, the planet itself—an appeal for greater awareness, urgency, and action. The first recording, released on New Amsterdam / Nonesuch Records in 2020, features the English vocal ensemble Gallicantus conducted by Gabriel Crouch. CandyStations created the music videos for all of the tracks on the album, which you can watch here.

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Chris Thile and the New York–based orchestra The Knights, led by Eric Jacobsen, bring his new piece, ATTENTION!—A narrative song cycle for extroverted mandolinist and orchestra, to Mechanics Hall in Worcester, Massachusetts, tonight and Cornell University’s Bailey Hall in Ithaca, New York, on Sunday. The program, which also features violinist Colin Jacobsen, also includes Caroline Shaw’s And So—which can be heard on her new album with Attacca Quartet, Evergreen—and works by Colin Jacobsen, Dvořák, and Bach. The San Francisco Classical Voice, reviewing the West Coast premiere of ATTENTION! with Thile and the Los Angeles Philharmonic at the Hollywood Bowl earlier this year, called it “always entertaining … an eclectic soup that takes in bluegrass licks, rock, folk, and classical strains.”

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Vagabon (aka Lætitia Tamko) concludes the East Coast leg of her North American tour, featuring music from her new album, Sorry I Haven’t Called, this weekend, with shows at Underground Arts in Philadelphia tonight; Space Ballroom in Hamden, Connecticut, on Saturday; and The Atlantis in Washington, DC, on Sunday. “An album that chases joy at every turn, Sorry I Haven't Called cycles through urgent dance, fiery indie, and feel good pop with a resilient sense of euphoria underpinning every joyous moment,” says Dork in its four-star review. “To unspool Tamko’s music is a bountiful reward,” says Paste. “Especially on Sorry I Haven’t Called, the work is dazzling and stirring.”