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License to Earn
Regional orchestras see film music concerts as a way to generate money and expand their audience. But do these events benefit smaller ensembles, or big intellectual property holders instead?
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Life After Monsieur
In memory of Hans Messner, who died this week after dedicating most of his life to Pierre Boulez
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Plenty of Fish
Le Poisson Rouge was New York’s leading alternative classical music venue. So how did it end up as a commercial club—and what does its decline mean for classical’s counterculture?
Tristan and Isolde and the Politicians
How political interference almost sunk the first São Paulo performance of Wagner’s opera in nearly 50 years
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Pierre Boulez
Making it work
The Other Wage Gap
American choristers have long suspected their work is valued less than that of their instrumental colleagues. A detailed quantitative analysis of the pay discrepancy shows they were right to be concerned.
Pay to Sing
Do expensive private courses like the Berlin Opera Academy really benefit young artists?
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ELISION Dossier
If I say it’s an experiment, you might think me overeager to abdicate on certitude’s authority. So I won’t say that.
KPIs by Candlelight
Documents show how Candlelight Concert organizer Fever enforce global musical uniformity through strict performance analysis
Heavy Shadows
“Die Zauberflöte” and “Die Frau ohne Schatten” at the 2026 Aix-en-Provence Festival in review
From five years ago…
New Music Decolonization in Eight Difficult Steps
George E. Lewis on how we can hear decolonization in contemporary festivals.
From ten years ago…
Last But Not Least
