Posted inInterview

Luxurious Boredom

When countertenor Anthony Roth Costanzo was 11 years old, he performed in a Broadway production of “The Sound of Music” alongside capital-P Personality Marie Osmond. Out of the goodness of her heart, Osmond offered the boy a deep discount on her range of dolls, a line she developed with the television shopping channel QVC. Costanzo […]

Posted inStuff I’ve Been Hearing

Natural Instincts

Swedish Chamber Orchestra, Thomas Dausgaard: “Mendelssohn Symphonies 1 & 3” (BIS) The Philadelphia Orchestra, Yannick Nézet-Séguin: “Florence Price: Symphonies Nos. 1 & 3” (Deutsche Grammophon) Orchestre Métropolitain de Montréal, Yannick Nézet-Séguin: “Sibelius 3” (ATMA Classique) Yu Kosuge: “Four Elements: Water, Fire, Wind, and Earth” (Orchid Classics) Sarah Kirkland Snider, Gallicantus: “Mass for the Endangered” (New […]

Posted inEssay

Ethereum Voices

On March 31, 2020, the Metropolitan Opera suspended paychecks for the musicians of its orchestra as its productions ground to a pandemic-induced halt. Some performers left New York City, refinanced their mortgages, or took early retirement. Others survived on a combination of Zoom lessons and unemployment. By the end of 2020, concert venues had reopened […]

Posted inPlaylist

A Maria Ewing Playlist

Two months ago, almost to the day, actress Rebecca Hall saw her directorial debut, “Passing,” premiere on Netflix. It was a personal project for Hall, whose mother—the soprano Maria Ewing—had a family history that mirrored the plot of the 1929 novel on which Hall based her film. In fact, Hall learned more about that family […]

Posted inProfile

Fleeting Visions

Classical music has a problem with embodiment. Whether it’s sexist critics focusing more on a female artist’s outfit than her technique or scolds who expect an audience to sit in stillness and silence until after the final note has sounded, many people seem to view actual human bodies as an obstacle to the deepest experience […]

Posted inInterview

The Fault in our Chords

Born in 1985, the Swedish composer Lisa Streich writes music of engrossing timbral and dramaturgical subtlety, often using traditional instruments prepared or modified by small, homemade, motorized devices. Listening to her pieces, I sometimes feel like I’ve been shrunk down to molecular size and placed inside a music box where noisy mechanics blend with pitched […]