With a widespread return to indoor, in-person performances nonetheless a methods off, listed below are 10 highlights from the flood of on-line music content material coming in April. (Occasions listed are Japanese.)
‘St. John Ardour’
April 2 at 9 a.m.; dg-premium.com; accessible by April 4.
This live performance sells itself: John Eliot Gardiner, one of many most interesting Bach interpreters on the planet, main his Monteverdi Choir and English Baroque Soloists within the “St. John Ardour” — on Good Friday, no much less. Not at all times as well-liked, and at all times more controversial, than its sibling “St. Matthew Ardour,” the “St. John” is nonetheless a piece that Gardiner feels passionately about. As he wrote in his e book “Bach: Music within the Citadel of Heaven,” it’s “as daring and complicated an amalgam of storytelling and meditation, faith and politics, music and theology, as there has ever been.” JOSHUA BARONE
April 6 at 7 p.m.; millertheatre.com; accessible indefinitely.
The Attacca gamers appear incapable of placing on a uninteresting live performance; one of many closing stay performances I heard earlier than final yr’s lockdown featured them in joyous mastery of Caroline Shaw’s string quartets. That was on the Miller Theater, which is internet hosting this livestream of choices from John Adams’s “John’s Ebook of Alleged Dances”; Gabriella Smith’s rhapsodic jam session “Carrot Revolution”; and “Benkei’s Standing Dying,” a 2020 work by Paul Wiancko, whose “Lift” teems with understanding of and affection for the string-quartet custom. JOSHUA BARONE
‘Pelléas et Mélisande’
April 9 at 1 p.m.; operavision.eu; accessible by Oct. 9.
We normally affiliate the phrase “interval devices” with the Baroque period. However modifications in musical know-how have been steady and profound by the ages, such that there will be revelatory performances of “period Beethoven” or “period Wagner” — or interval Debussy! François-Xavier Roth and his ensemble, Les Siècles, have lengthy tailor-made their interpretations — and the devices they use — to totally different works they play. They’ve recorded Debussy as he may need sounded on the flip of the 20th century, and now tackle his epochal 1902 “Pelléas” for Opéra de Lille, directed (and with starkly elegant sets designed) by Daniel Jeanneteau. ZACHARY WOOLFE
The Orchestra Now
April 10 at eight p.m.; theorchestranow.org; accessible on demand from April 15 by Could 30.
This spectacular ensemble of graduate college students at Bard School presents a characteristically adventurous program, performed by Leon Botstein. It opens with Tania León’s glittering “Ácana,” from 2008, adopted by Bernstein’s “Serenade”: a rumination on Plato’s “Symposium” that takes the type of an intense, episodic violin concerto, with Zongheng Zhang as soloist. The good pianist Blair McMillen seems in Stravinsky’s Concerto for Piano and Wind Devices, a terrific however seldom carried out piece. This system ends with Mendelssohn’s spirited “Scottish” Symphony. ANTHONY TOMMASINI
April 12 at eight a.m.; wigmore-hall.org.uk; accessible by Could 12.
When this German baritone sang Schubert’s “Die Schöne Müllerin” cycle on the Park Avenue Armory two years in the past, Joshua Barone wrote in The New York Occasions that he “had the exacting consideration to textual content of an actor, the charisma of a seasoned storyteller and an agile voice.” If you happen to, like me, missed that efficiency, one other alternative beckons with this livestream from Wigmore Corridor in London. Appl can have, within the pianist James Baillieu, the identical companion as on the Armory, so we’ll see if he can forged the identical spell over the display. ZACHARY WOOLFE
‘Within the Penal Colony’
April 15 at 12:01 a.m.; philipglasscenterpresents.org; accessible indefinitely.
Up to now, I’ve discovered the recording of this Philip Glass “pocket opera,” tailored from Kafka’s brief story, to be a bit of a slog. However a staging could make all of the distinction, notably when dealing (as right here) with a talky libretto. This 2018 manufacturing by Opera Parallèle — offered as a part of this yr’s digital version of Glass’s Days and Nights Festival — has turned me round on the work. Because of a robust pair of lead performances and a easy but efficient black-box set, Kafka’s bureaucratized dystopia shines by with a recent lacquer of bleak humor. SETH COLTER WALLS
San Francisco Symphony
April 15 at 1 p.m.; sfsymphonyplus.org; accessible indefinitely.
The pandemic waylaid this orchestra’s splashy plans to welcome Esa-Pekka Salonen as its new music director. However with its personal streaming service now up and working, San Francisco is giving Salonen an opportunity — nonetheless curtailed — to start out defining his tenure. For this SoundBox program, he’s specializing in concepts of musical patterning. Whereas this system consists of some well-worn Minimalist favorites by Steve Reich and Terry Riley, probably the most intriguing merchandise is a premiere from Salonen himself: “Saltat sobrius,” a fantasy on Pérotin’s medieval “Sederunt Principes.” SETH COLTER WALLS
April 15 at 10 p.m.; calperformances.org; accessible by July 14.
The primary e book of Bach’s “The Effectively-Tempered Clavier” was to have dominated this pianist’s 2020 efficiency schedule. That, in fact, was to not be, however final spring, he nonetheless produced a series of streams associated to the capacious work. He returns to it in its totality for this live performance, offered by Cal Performances. ZACHARY WOOLFE
April 29 at 7 a.m.; thehalle.vhx.tv; accessible by July 29.
All three of the Hallé’s streams this month will likely be price watching, together with the premiere of Huw Watkins’s Symphony No. 2, accessible from April 15. However this final program of the season is probably the most formidable: an account of Stravinsky’s “The Soldier’s Story” filmed on location throughout the orchestra’s hometown, Manchester, England. Composed amid the influenza pandemic of 1918, the Stravinsky asks for small forces: simply seven instrumentalists backing three actors and a dancer. Mark Elder conducts, and Annabel Arden and Femi Elufowoju Jr. direct. DAVID ALLEN
Chamber Music Society of Lincoln Middle
April 29 at 7:30 p.m.; chambermusicsociety.org; accessible by Could 6.
This program is billed as “Monumental Trios,” and that’s no exaggeration. Beethoven’s Trio in E-flat (Op. 70, No. 2) is an imposing, looking out and, at instances, alluringly quizzical work. The very good pianist Juho Pohjonen joins the violinist Paul Huang and the cellist Jakob Koranyi in a efficiency taped in 2015. Brahms’s Trio No. 1 in B, composed in 1854 and revised in 1889, gives music by this composer in his brash early days — then modulated some 35 years later, as soon as he was a probing, mature grasp. The efficiency by the pianist Orion Weiss, the violinist Ani Kavafian and cellist Carter Brey is from 2017. ANTHONY TOMMASINI