Jason Victor Serinus

Frederica von Stade shares her master class strategies, plans for the future, gratitude for her “guardian angels” ... and joy at being a new grandma.

Christian Tetzlaff, visiting S.F. with his longtime quartet, insists that a chamber musician’s job is to draw listeners into the story — whether of friendship, compassion, intimate feelings, or terrible things happening.

The human voice reaches its apogee with Lorraine Hunt Lieberson’s recording of Berlioz and Haydn, accompanied by the Philharmonia Baroque Orchestra.

Castleton Festival Opera’s productions of Albert Herring and The Rape of Lucretia featured some less than stellar vocal performances.

Steven Blier’s N.Y. latest Festival of Song appearances in S.F., always cause for celebration, is Amores Nuevos — featuring discoveries born of a love affair with Spanish and Latin American song and blessed by the gifts of four Adler Fellows.

In tribute to tenor Plácido Domingo in his 70th birthday year, both EMI and Sony have released DVDs of his first foray into the baritone repertoire, the lead in Verdi’s opera Simon Boccanegra.

Something special is happening at the Livermore Valley Opera, which has taken the care to stage Puccini’s Madama Butterfly with a cast that does the opera and the company proud.

To prolonged high-pitched cheers and applause, Munich-born tenor Jonas Kaufmann, 41, strode onto the stage of Zellerbach Hall for his Bay Area debut, offering a unique instrument and experience; one of the most versatile, compelling, and vexing recitals in memory.

The NCCO’s title for its upcoming concerts, “Mastery of Schubert,” is a curious one. Yet, there is little question that the gifted soprano Melody Moore will fulfill the title’s promise, the four Schubert lieder she performs on the March 24-27 concerts.

Eugene Chan’s resonant baritone voice and passionate delivery were the prize in a somewhat self-conscious Sunday recital.