With in-person performances just starting to return in many places, here are 10 highlights of the online music content coming in June. (Times listed are Eastern.)

Available through June 4; dallassymphony.org.

One of the very dramatic musical coups of the pandemic came a month ago, when players in the Metropolitan Opera’s orchestra — which went unpaid for nearly a year — traveled to Texas to join the Dallas Symphony Orchestra for benefit performances of Mahler’s Symphony. It was a reunion with Fabio Luisi, who had been the Met’s principal conductor for at least five years and is currently the music director in Dallas. The filmed result is fresh, vivid and cumulatively rather moving. ZACHARY WOOLFE

June 1 ; malmoopera.se; there are more livestreamed performances through June 13.

Circus juggling was among the highlights of Phelim McDermott’s recent staging of Philip Glass’s opera “Akhnaten. ” Might that have given Glass a new thought ? Whether its coincidence or not, his most recent stage work a collaboration with the librettist David Henry Hwang and the circus director Tilde Bjorfors is being promoted as a never-before-seen fusion of circus and opera, streamed live from the Malmo Opera in Sweden. SETH COLTER WALLS

June 3 at noon; operabox.tv; accessible indefinitely.

Filmed opera continues to take pandemic-prompted steps ahead, including this pivot to episodic narrative. Available on Boston Lyric Opera’s operabox.tv platform, “Desert In” is an eight-part mini-series where a married couple runs what is described as “a mysterious engine lodge where guests pay to be reunited with lost loves. ” (The episodes, projected to last between 10 and 20 minutes each, will roll out on a weekly basis, two at a time.) The rotating creative team is promising, with composers such as Nathalie Joachim and Nico Muhly taking turns writing episodes, for a cast that includes the celebrity mezzo-soprano Isabel Leonard and the cabaret performer Justin Vivian Bond. SETH COLTER WALLS

June 3 and 4 at 7:30 p.m.; dso.org; available through June 17 and 18.

Kent Nagano, an educational and dynamic conductor, is presenting two 45-minute programs with the Detroit Symphony — both of which, in feature Nagano design, offer intriguing pairings of old and new. On June 3 he leads Toshio Hosokawas Percussion Intermezzo from Stilles Meer, an opera composed in reaction to the Fukushima nuclear disaster in 2011, alongside Schuberts ebullient Fifth Symphony. The next day he pairs Brittens Fanfare for St. Edmundsbury with Arvo Pas Cantus in Memory of Britten, before finishing with Mozarts Piano Concerto No. 21 in C, with the tasteful pianist Gilles Vonsattel as soloist. ANTHONY TOMMASINI

June 10 at 7:30 p.m.; chambermusicsociety.org; accessible through June 17.

Scheduled for December of last year, before the pandemic intervened, the exciting Escher String Quartet performs live from the Rose Studio under the auspices of the Chamber Music Society of Lincoln Center. The program opens with Bartoks final quartet, first performed in 1941 and a work that arrestingly unite aching grief his mother died, and World War II was grimly unfolding with teeming intensity. The concert ends with Sibelius’s unconventional and engrossing “Voces Intimae” in five moves, written in 1909. Its the kind of thing, Sibelius wrote of the work, that brings a smile to your lips at the hour of death. ” ANTHONY TOMMASINI

June 11 at 10 p.m.; kronosquartet.org; available through Aug. 31.

Global in scope, this is the first of three meaty streamed programs which, together with some ancillary offerings and movies, make up this intriguing festival of new work introduced by the Kronos Quartet and its creative base. The premieres include music by Nicole Lizée, Soo Yeon Lyuh, Hawa Kassé Mady Diabaté and Mahsa Vahdat; additional pieces are by Clint Mansell, Jlin and Pete Seeger (his sadly ever-relevant “Where Have All the Flowers Gone? ”). ZACHARY WOOLFE

June 14; chezsoi.operadeparis.fr; accessible indefinitely.

As sunlight invites you outdoors, the last thing you will want is to stare at a screen for over six hours. But if you have the patience — or if a rainy day keeps you inside — set aside time for the Paris Opera’s newest premiere: the third in its cycle of works inspired by French literature, as well as Marc-André Dalbavie’s third opera. It’s an adaptation of Paul Claudel’s sprawling drama “Le Soulier de Satin” (“The Satin Slipper”) — in preview clips loaded with misty orchestration and long melodies — directed by Stanislas Nordey, conducted by its composer and starring the bass-baritone Luca Pisaroni and the mezzo-soprano Eve-Maud Hubeaux. JOSHUA BARONE

June 17 at 7:30 p.m.; 5bmf. Org; available through Dec. 31.

Those passing by the Brooklyn Public Librarys main branch at Grand Army Plaza on a sexy, recent Saturday afternoon could experience an unusually innovative new song cycle musing on the tangled history of exploration and colonization. Composed by the bookish performer-composer collective Oracle Hysterical and played with the quartet Hub New Music, the sometimes propulsive, sometimes sultry music was superb when Majel Connery was airily singing, and foundered only in two long, talky sections at the end. It will be released for streaming in a variant filmed in the Newhouse Center for Contemporary Art on Staten Island. ZACHARY WOOLFE

June 24 at 12:01 a.m.; cso.org/tv; available through July 23.

Missy Mazzoli shuts her tenure as the Chicago Symphonyas composer in residence with two rich streaming apps of recent and new music. This, the second of those concerts, includes the premiere of Courtney Bryans Requiem, which draws on various mourning traditions and is scored for vocal quartet, winds, brass and percussion; there are also works by Gilda Lyons, David Reminick and Tomeka Reid available. (The first program, which goes online June 10, is no slouch, either, including pieces by Nicole Mitchell, Wadada Leo Smith and Mazzoli herself.) ZACHARY WOOLFE

June 24 and 25 at 2:30 p.m.; philharmonia.co.uk; available until Sept. 16 and 17.

One of the wonderful partnerships in music — the conductor Esa-Pekka Salonen and the excellent Philharmonia Orchestra in London — ends in June with Salonen’s final concerts as principal conductor. (Rest assured, the group seems in great hands with his successor, Santtu-Matias Rouvali.) Both programs are meaty affairs: one beginning with Beethovens First Symphony and end with Sibeliuss Seventh, bookends to Liszts Second Piano Concerto (with Yefim Bronfman) and Stravinskys Symphonies of Wind Instruments; and another surveying Bach through the eyes of 20th-century artists, along with the premiere of Salonens Fog, adapted for orchestra, and Beethovens Third Piano Concerto, with Mitsuko Uchida the tantalizing soloist. JOSHUA BARONE