HERE AND NOW WINTER FESTIVAL at Bargemusic (Jan. 5, 8 p.m., through Jan. 7). There are few cozier spots to hear music than this barge, floating alongside the Brooklyn Bridge in Dumbo. And few pleasanter showings of new work than this annual top-of-the-year festival, with a set of fine musicians and fresh pieces by Elizabeth Brown, Vera Ivanova, Nora Essman Morrow, Russell Platt, David Taylor and Scott Wheeler.
CHAMBERFEST at the Juilliard School (Jan. 8, 4:30 p.m., through Jan. 11). In eight free concerts over four days, Juilliard students — who have sacrificed their winter breaks — delve into the chamber repertory. Schoenberg pops up a few times in these diverse programs, which also feature Mozart, Schubert, Brahms, Dvorak, Dutilleux — and dueling 20th-century octets by Stravinsky and Enescu.
CONTACT! at National Sawdust (Jan. 8, 7:30 p.m.). The New York Philharmonic’s new music series, saved from the chopping block last season, always offers valuable helpings of contemporary works for chamber forces and small ensembles. This program is a particularly timely one amid widespread and justified outrage about gender inequity. It focuses on a fine set of female composers: Du Yun, Ashley Fure, Fernanda Aoki Navarro, Sarah Kirkland Snider and Anna Thorvaldsdottir.
‘CAV/PAG’ at the Metropolitan Opera (Jan. 8, 7:30 p.m., through Feb. 1). This traditional, satisfyingly visceral pairing of two verismo one-acts, Mascagni’s “Cavalleria Rusticana” and Leoncavallo’s “Pagliacci,” offers some potential pleasures in a revival of David McVicar’s flamboyant production. The tenor Roberto Alagna, always super-committed, takes on the hotheaded male lead in each — opposite Ekaterina Semenchuk (and, later in the run, Eva-Maria Westbroek) in “Cav” and his wife, Aleksandra Kurzak, in “Pag.” Nicola Luisotti, a sure hand in the Italian repertory, conducts.
‘ACQUANETTA’ at Gelsey Kirkland Arts Center (Jan. 9, 7:30 p.m., through Jan. 14). Inspired by cult horror films, Michael Gordon’s one-act opera (with a libretto by Deborah Artman and directed by Daniel Fish) ends up a reflection on identity and acting. It is a highlight of this year’s Prototype festival of new music theater, which runs through Jan. 20 at a variety of locations and includes a characteristically bold and broad range of styles.
ROOMFUL OF TEETH at Zankel Hall (Jan. 11, 7:30 p.m.). This intrepid vocal ensemble, whose repertoire of clicks, hisses, yodels and pitch-bends borrows from styles that span the globe, includes here the shining, endlessly resourceful work that has become its standard, its “Born to Run” or “Let It Be”: “Partita for Eight Voices,” which won Caroline Shaw, a group member, the Pulitzer Prize for Music in 2013. The program is rounded out by premieres of pieces by two young artists from the jazz tradition: the trumpeter Ambrose Akinmusire and the pianist Tigran Hamasyan.