With many opera houses and concert halls, particularly in the United States, still closed by the coronavirus pandemic for months to come, the musical action has moved online. That’s been the case since March, of course — but as fall is upon us, artists and institutions are creating digital presentations with more care and intention.
There’s a flood of offerings out there. Here is a selection of 10 highlights coming in October. (Times listed are Eastern.)
Oct. 1, 5 p.m.; 5bmf.org; available through Nov. 3.
Few musical works are as strong and stark as “Coming Together,” Frederic Rzewski’s inexorable setting of a letter by Samuel Melville, one of the incarcerated men who died during the brutal crushing of the inmates’ rebellion at Attica prison in upstate New York in 1971. The countertenor Reginald Mobley takes on the piece’s key, calmly heart-rending narrating role, on a program that also features songs and spirituals by Florence Price and Bach’s cantata “Widerstehe doch der Sünde.” ZACHARY WOOLFE
Oct. 6, 5 p.m.; chambermusicsociety.org; available for one week.
Combinations of lecture and performance can range from fascinating to dreary, so I’m curious to see how, and how effectively, the Chamber Music Society of Lincoln Center’s new Art of Interpretation series brings the two elements together. In the first livestreamed installment, the wonderful pianist Gilles Vonsattel plays and discusses Debussy’s six-part “Images.” ZACHARY WOOLFE
Los Angeles Philharmonic
Oct. 9; soundstage.laphil.com.
Gustavo Dudamel’s Los Angeles Philharmonic can be seen in half a dozen filmed concerts this fall on the orchestra’s free Sound/Stage platform. This program, “Power to the People,” blends orchestral and more intimate performances. It features the Los Angeles players in works by two Black composers: William Grant Still and Jessie Montgomery, as well as a set of songs by Florence Price, sung by the mezzo-soprano J’Nai Bridges. SETH COLTER WALLS
Brentano String Quartet
Oct. 13, 7:30 p.m.; 92y.org; available for one week.
The 92nd Street Y is opening an enticing season of livestreams with a concert by this exciting quartet. On paper, a program offering works by Haydn and Mendelssohn might not seem so daring. But these superb players have chosen rarer fare, including Haydn’s String Quartet in D (Op. 17, No. 6); four short pieces by Mendelssohn; and that composer’s String Quintet in B-flat, a restless score with a mournful slow movement and hurtling finale. (The violist Hsin-Yun Huang joins for it.) ANTHONY TOMMASINI
Nathalie Joachim and Spektral Quartet
Oct. 14, 10 p.m.; calperformances.org; available until Jan. 12.
Folk songs, sweet strings, spoken text, a girls’ choir and quirky electronics come together in Nathalie Joachim’s charmingly understated yet unmistakably ambitious “Fanm d’Ayiti” (“Women of Haiti,” in the kreyòl language), featuring the Spektral Quartet and presented by Cal Performances. With sly loveliness, Ms. Joachim, a Haitian-American composer, flutist and vocalist, sketches a whole universe, conjuring the stories of Haitian women and, as George Lewis observed in The New York Times, bringing “musical Minimalism home to the African diaspora from which it has drawn so much.” ZACHARY WOOLFE
Oct. 15, 7 p.m.; clevelandorchestra.com; available live, then on demand.
For its virtual fall season, “In Focus,” the Cleveland Orchestra is presenting five “episodes” on its new platform, Adella — named after the group’s founder, Adella Prentiss Hughes. December will bring a can’t-miss concert with John Adams and the pianist Vikingur Olafsson; but to start, Franz Welser-Möst leads a program of Respighi’s third set of “Ancient Airs and Dances,” a musical embodiment of grace, as well as George Walker’s “Antifonys,” played by the Clevelanders for the first time, and Tchaikovsky’s “Souvenir de Florence.” JOSHUA BARONE
Detroit Symphony Orchestra
Oct. 22, 7:30 p.m.; dso.org; available live, then on demand.
Take your pick among the Detroit Symphony Orchestra’s well-balanced programs this fall; there’s not an uninteresting concert in sight. This one, led by Donald Runnicles, features a quartet by Carlos Simon and Benjamin Britten’s early “Variations for String Orchestra on a Theme of Frank Bridge.” The Simon, “An Elegy: A Cry From the Grave,” is a solemnly lyrical and emotive reflection on, its composer once wrote, those killed by an oppressive power. At the time the piece was written, he meant Black Americans like Trayvon Martin, Eric Garner and Michael Brown — a list that has only continued to grow. JOSHUA BARONE
Oct. 23, 8 p.m., operaphila.org; available through May.
Among American opera companies, only the Metropolitan so far has created its own streaming channel. The Met will have a fellow shortly, when the plucky Opera Philadelphia launches its own paid streaming app. In addition to showcasing past productions, there will also be new content — like this opening-night “recital and conversation” program, featuring the aesthetically wide-ranging tenor Lawrence Brownlee. SETH COLTER WALLS
Oct. 25, 3 p.m.; caramoor.org; available for 24 hours.
After a successful series of adventurous livestreamed programs this summer, Caramoor offers a fall season of concerts performed live, without audience, in the elegant Music Room on its bucolic grounds in Katonah, N.Y. The brilliant pianist Jeremy Denk plays a typically inventive program that opens with Mozart’s Sonata in C minor and ends with Beethoven’s final sonata, in the same key. Along the way he includes works by Scott Joplin, “Blind Tom” Wiggins, Tania León and Frederic Rzewski. ANTHONY TOMMASINI
Oct. 31, 2 p.m., digitalconcerthall.com; available live, then on demand.
What first caught my attention about the Berlin Philharmonic’s now-canceled concerts at Carnegie Hall this season was not just the opportunity to hear the orchestra under its new chief conductor, Kirill Petrenko. It was also the more extraordinary prospect of seeing him lead a work by Andrew Norman — which is to say contemporary music, a blind spot in Mr. Petrenko’s repertoire. Thankfully, the Philharmonic is still performing at home, and broadcasting on its Digital Concert Hall platform. And a Norman piece remains on the bill: a new, orchestrated version of “Sabina,” the atmospheric and arpeggiated final section of his string trio “The Companion Guide to Rome.” JOSHUA BARONE