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The Opéra National de Paris has begun to celebrate its 350th anniversary. While Meyerbeer’s “Les Huguenots,” which opened on Friday and runs through Oct. 24, has not been performed by the Opera since 1936, it was quite possibly the most popular music drama of the 19th century. Blazing worldwide after opening here in 1836, it was the first title to be put on by this company 1,000 times.

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For the first time in its history, the Metropolitan Opera is commissioning operas by women. It is hoping to adapt beloved novels like “Lincoln in the Bardo” and “The Amazing Adventures of Kavalier & Clay.” And it will venture beyond the walls of its opera house to collaborate with the Brooklyn Academy of Music and the Public Theater.

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Introducing Mr. van Zweden, 57, to New Yorkers is the Philharmonic’s first order of business. The orchestra has mounted a publicity campaign with posters, TV spots and web ads; programmed premieres to add spice to his opening weeks; and planned performances for city workers and others in April, at which all tickets will cost $5.

But rolling out a new maestro is not easy in 2018. The city may be a classical music capital, but the art form rarely breaks through to the broader culture, or even the local news. And the Philharmonic faces intense challenges as it greets him, most pressingly the much-delayed task of renovating its drab hall. So the stakes were high as the orchestra spent a week preparing to debut its new maestro on Thursday.

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The National Endowment for the Arts has announced its 2019 Jazz Masters, and it’s a diverse group.

The honorees are the composer and bandleader Maria Schneider, the South African pianist Abdullah Ibrahim, the pianist and vocalist Bob Dorough and the critic Stanley Crouch.

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In an effort to update music copyright law for the digital age, the various players involved — tech companies, music publishers, songwriters, musicians and radio broadcasters — assembled an ambitious bill that addressed their concerns.

The bill is meant to correct the flaws and loopholes that have led musicians to complain about unfair compensation from streaming services, while also protecting companies like Spotify from lawsuits. It also establishes a truce between music publishers and digital music services over an aspect of licensing that has led to a string of multimillion-dollar lawsuits.

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At its outdoor parks concerts last week, the New York Philharmonic performed works by two 11-year-old girls, Camryn Cowan and Jordan Millar — newcomers to the world of composing. They won over the crowds, who gave standing ovations. Anthony Tommasini of The New York Times gave them an effusive review.

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For people who spent their pre-child-rearing years attending operas, symphonies and concerts, having a baby can put a damper on accessing cultural events. Bach to Baby, created by the Chinese-Canadian concert pianist Miaomiao Yu in 2009, was set up to address this issue, giving parents the opportunity to enjoy quality music without stares and shushing. Bach to Baby’s other mission is to expose children to classical music (the group also holds concerts for other musical genres including opera, jazz and traditional folk) from an early age.

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In the years leading up to “A Love Supreme,” his explosive 1965 magnum opus, John Coltrane produced eight albums for Impulse! Records featuring the members of his so-called classic quartet — the bassist Jimmy Garrison, the drummer Elvin Jones and the pianist McCoy Tyner — but only two of those, “Coltrane” and “Crescent,” were earnest studio efforts aimed at distilling the band’s live ethic.

On Friday, Impulse! will announce the June 29 release of “Both Directions at Once: The Lost Album,” a full set of material recorded by the John Coltrane Quartet on a single day in March 1963, then eventually stashed away and lost. The family of Coltrane’s first wife, Juanita Naima Coltrane, recently discovered his personal copy of the recordings, which she had saved, and brought it to the label’s attention.

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Swiss composer Frank Martin’s works are finding new advocates in the United States, among them the conductor Joe Miller, who lead the Mass at the Spoleto Festival USA in Charleston, S.C., joined by his Westminster Choir.

While Martin’s instrumental pieces are occasionally heard in America, his choral music remains rare. His Requiem, which was given its premiere by the Orchestre de la Suisse Romande in 1973, has been presented only once in this country, according to its publisher, Universal Edition. But interest is growing.

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