Music

Highlights

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CreditRozette Rago for The New York Times
Sleater-Kinney Asked St. Vincent for a Creative Spark. The Trio Blew Up.
After two and a half decades, the acclaimed band ventures into a different sound on its ninth album, “The Center Won’t Hold” — and moves onward without its longtime drummer.
By Melena Ryzik
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CreditBettman/Getty Images
Elvis Presley Needed a Reboot in July 1969. So Did Las Vegas.
Elvis’s bona fides were in question when he returned to the stage after more than eight years. His ’69 comeback show was a make-or-break gamble.
By Richard Zoglin
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  CreditMatt Sayles/Invision, via Associated Press
  Katy Perry’s Copyright Case May Sound Familiar to These Stars
  The “Dark Horse” decision is the latest in a long line of disputes that have shaped the way copyright law is handled in the music industry.
  By Nancy Coleman
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  CreditHilary Scott
  Review: ‘Die Walküre’ Brings the Thunder to Tanglewood
  Andris Nelsons conducted the Tanglewood Music Center Orchestra, a trainee ensemble, in Wagner’s “Ring” opera.
  By David Allen

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CreditStephanie Berger
Korngold’s Rarely Heard Opera Hints at His Future in Hollywood
Bard SummerScape is offering the belated American premiere of “Das Wunder der Heliane” as part of a deep dive into Erich Wolfgang Korngold’s work.
By Seth Colter Walls
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CreditKen Howard
At Santa Fe Opera, Extreme Weather Is Part of the Show
Three deeply dissimilar works are unified by the wind, a fixture in librettos and in reality.
By Zachary Woolfe
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CreditSara Krulwich/The New York Times
The Week in Arts: Wendy Whelan Dances; April Matthis Is at Bat
Five female composers, “Four Weddings and a Funeral” a passel of posters protesting apartheid and Off!
By The New York Times
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CreditKeith Beaty/Toronto Star, via Getty Images
M. Owen Lee (Father Lee to His Met Opera Radio Fans) Dies at 89
A Roman Catholic priest whose avocation for 23 years was offering commentaries and quiz answers in broadcasts during intermissions.
By James Barron
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CreditEnrico Nawrath
Review: A New ‘Tannhäuser’ Brings Burger King to Bayreuth
With a drag queen and lowbrow pop culture, a rambunctious production transports Wagner’s opera to the present.
By Joshua Barone