Alan Gilbert starts fresh.
How the artist manager Xenia Evangelista converts hope into cash.
Unsuk Chin suffers for her art.
What’s next for Barenboim and the Staatsoper?
The sounds of the composer and artist’s “obsessive aesthetic fence-straddling.”
The trombonist and composer’s formative years.
Who’s Your Conductor Soul Mate?
For 2018, what we hope will change in classical music.
A guide to the vastly underrated composer’s music.
What classical music gets up to on Facebook, Twitter, and Instagram.
The artistic director of a Jewish orchestra discovers a genre’s roots.
Andrew Manze’s committed spontaneity.
Does the future of classical lay in its past?
Unpacking the Instagram score-studying aesthetic.
On Music and Activism.
And wound up hating Mozart.
How the far-right Polish government targets artists.
On Borealis, an experimental festival for music.
On the sexual politics of musical metaphors.
Meredith Monk translates biological process into a new language.
Does classical music need a Rooney Rule?
An openness to failure at the Ultima Oslo festival.
An interview with Du Yun.
Cliquishness, misogyny, and hypocrisy at an insular new music festival.
Amy Williams’s overlapping textures.
Anna Netrebko’s defense of blackface.
Artist managers are routinely subject to sexual harassment and economic exploitation.
Opera owes its heritage to the Middle East. Why do we silence this legacy?
Alina Rotaru wants to change the notes.
Pierre Hantaï teaches himself.
An interview with Jean Rondeau.
Alice Goodman defends her libretto to “The Death of Klinghoffer.”
Kristian Bezuidenhout wants to program music in its context.
Paul Jacobs trusts his audience.
On a search for the perfect music education.
An Interview with Michael Pisaro.
Ben Johnston looks back.
Ione completes an opera by her late partner Pauline Oliveros.
An attempt to revive the music of Horatiu Radulescu.
A profile of George Crumb at 87.
The violinist Leila Josefowicz is a tough cookie.
The personal and political histories of Lukas Ligeti.
On Tippet Rise, a classical music festival on Native American land.
“The Mother of Us All” at Hudson Hall.
Pierre Audi’s vision for the Park Avenue Armory.
Claire Chase and Anna Thorvaldsdóttir shape the concert.
On the New York premiere of “Three Way.”
A new choral work by Michael Gordon.
A call for clarity in calls for scores.
On “Somnium” and hypnagogic hallucinations.
The Refugee Orchestra Project envisions an open America.
The composer Kaija Saariaho prepares for the Metropolitan Opera’s historic production of “L’Amour de Loin.”
Classical musicians respond to the election.
The composer and songwriter Gabriel Kahane is staying candid.
Procrastination and the search for simplicity with the composer Natalie Draper.
Dispatches from the Ojai Music Festival and Jordan Hall.
The novelist Garth Greenwell on singing, literature, and the physicality of language.
Listening to Simon Rattle’s goodbye concert in Berlin.
James Levine is suing the Met. No matter what, both parties lose.
Donald Runnicles thinks conducting is the easy part.
“Die Gezeichneten” at the Komische Oper in Berlin.
On knowing and not knowing about James Levine.
A haunting new “Meistersinger” at Bayreuth.
Paul Lewis makes his Berlin Philharmonic debut.
Jessica Cottis is always leading.
all that dust wants to give artists a better deal.
Na’ama Zisser learns to let go.
George Benjamin on his third opera, “Lessons in Love and Violence.”
Peter Ablinger on creating texture.
The cellist Mariel Roberts searches for transformation.
Sounds and wanderings by the composer Kristina Wolfe.
Empathy and perception with the composer Sky Macklay.
Yuval Sharon takes on opera’s future.
Katherine Balch dives into plant sounds, nonlinear novels, humming, and shivering.
Cult appeal and the universe with the composer Dylan Mattingly.
Where did classical music’s most famous label go wrong?
Samir Chatterjee seeks detachment.
The composer Liza Lim on judging composer competitions.
Christian Gerhaher doesn’t want to entertain.
The violinist Patricia Kopatchinskaja is fed up.
Roland Kayn’s cybernetic compositions.
Tim Rutherford-Johnson discusses his new book “Music After the Fall.”
Explorations of experimental music with Jennie Gottschalk.
The mixes of the electroacoustic composer Carl Stone.
A new release of a pivotal Julius Eastman work.
Why studies questioning the Stradivarius myth are so persuasive.
Steven Osborne’s piano psychologies.
Selling the manuscript of Mahler’s Second Symphony.
On the Multi-Story Orchestra, an ensemble based in a car park.
The risks of using famous artists as opera set designers.
A concert of black female composers in New York.
Discovering the New York Opera Fest.
A Concerto with Cornel West and pieces on Sonia Sotomayor and Donald Trump at the Apollo Theater.
What the mezzo-soprano Elīna Garanča looks for in a production.
A new production of “Lucia di Lammermoor,” by Heartbeat Opera.
Morton Subotnick wants to stay insulated.
John McCowen goes from experimental music to rock fame and back again.
How Shostakovich changed the improviser Liz Durette.
The aesthetic campaigning of Against Modern Opera Productions.
Yarn/Wire’s “Currents” series comes full circle.
Improvisations by Rhymes With Opera.
Janáček’s “Jenůfa” and the politics of forgiveness.
“The Hubble Cantata” in Brooklyn.
Herbert von Karajan and Arthur Honegger’s “Symphonie Liturgique.”
What’s up at the Center for Black Music Research.
Musicians and listeners respond to our survey.
The composer and saxophonist Matthew Evan Taylor on false binaries, anger as pitch, and the surprises of working with visual artists.
An interview with the composer and sound artist Lisa R. Coons.
Who loved it, who hated it – Seth MacFarlane at the San Francisco Symphony.
Who loved it, who hated it – “Girls of the Golden West.”
How did the repertoire become so narrow?
What one octogenarian performer’s experience reveals about getting old in the music business.
Do we still need Bayreuth?
Wolfgang Hildesheimer’s 40-year-old essay is the most modern music book of the year.
Remembering Klaus Huber.
How two amateurs created the world’s most important resource on the French composer.
An interview with Jaap van Zweden.
The decline of one of America’s great composers.
A music critic listens with depression.
Matt Haimovitz in Sarasota, Florida.
Matt Haimovitz in Cormons, Italy.
Matt Haimovitz in Fishtail, Montana.
The top 10 composers who only wrote one famous piece.
An interview with the founder of IMSLP.
The conductor Thomas Sanderling’s life with Mravinsky, Weinberg, and Shostakovich.
What music says about the history of colonialism in Brazil.
An interview with the composer Jüri Reinvere, on a musical life in the orbit of Ingmar Bergman and Käbi Laretei.
Artists take over the Brazilian Ministry of Culture.
Pierre-Laurent Aimard after the Aldeburgh Festival.
Scoring Hong Kong film and arranging Harry Partch.
What does it mean when a conductor says he’s “bringing music” to societies with rich musical traditions?
The present and future of artificial intelligence in composition.
Transfiguration and tradition in Schoenberg’s “Verklärte Nacht.”
Is it better for your music to be streamed or pirated?
The provocations of Frederic Rzewski.
An Interview with Laurie Anderson
Alina Ibragimova wants it darker.
A concert protests the weaponization of atonal music.
Susan McClary wants to debate the music.
Patricia Alessandrini finds identity in sound.
Niels Rønsholdt sees beauty in the attempt.
A profile of the artist and interviewer Helga Davis.
What’s a classical musician to do in Trump’s America?
The solace of John Cage’s speaking and writing.
King Ludwig II’s Wagnerian castle and a lineage of obsession.
The Black tenors who’ve taken on the role of Otello.
Talking motherhood and opera with Margarete Joswig.
Saul Williams’s words to music.
Hartmut Haenchen jumps in at Bayreuth.
At the Belvedere Singing Competition, in Cape Town, with the tenor Lukhanyo Moyake.
Dr. Joanne Loewy, director of the Louis Armstrong Center for Music and Medicine, on the pitfalls of the audition process.
The prevailing 19th-century attitudes towards injury and disability in classical music harm musicians and those around them.
A student remembers Lilian Kallir and her unusual illness.
From mountain camping to Concertgebouw audition.
Improvisation with family as a cure for orchestral burnout.
Venezuelans respond to Gustavo Dudamel.
Is El Sistema really a revolution in music education?
An interview with Alvin Lucier.
Suzanne Farrin’s subtractive composition.
Berlin’s Staatsoper returns to its renovated home.
Would Pierre Boulez have approved of the Pierre Boulez Saal?
Why we still need dedicated classical music spaces.
And that’s OK.
Uri Caine’s classical improvisations.
The enigmatic composer’s obsessions and influences.
Alexei Lubimov is looking for adventure.
The cellist Anner Bijlsma makes music without playing.
Russian classical music’s money machine.
How Teodor Currentzis became a Russian sex symbol.
In search of the musical occult.
Investigating classical music on the London Underground.
On “dead wasps in the jam-jar (ii).”
Is “Peter Grimes” a better play than opera?
Craig Urquhart remembers his life with the conductor and composer.
Stephen Wadsworth on writing words for Leonard Bernstein.
Robin Ticciati wants to hear internal fire.
Anne Teresa de Keersmaeker starts with the score.
Politics, aesthetics, and the deconstruction of binaries.
Censorship, political correctness, and the legacy of “America’s Troubadour.”
A profile of the conductor.
Memories of Galina Ustvolskaya.
The radical commitment of Pablo Casals.
The loss and rediscovery of Croatia’s groundbreaking electroacoustic music scene.
The composer Jennifer Walshe’s overwhelming worlds.
Music on the border to the Gaza Strip.
On the interaction between personal identity and artistic freedom.
On the effort performers put into looking effortless.
An interview with Helmut Lachenmann.
An interview with the German mezzo-soprano Waltraud Meier.
Conversations with Polish music engravers.
“Dichterliebe” in a collage with the pop and the pornographic.
Where do piano tuners spend their days?
The composer Nathan Currier preserves the Midtown scene.
Why aren’t we discussing structural inequality in classical music?
Composing in the era of entrepreneurship.
In Berlin with the South African composer Philip Miller.
On Autism and emotion in music.
The liberation of the Syrian city of Palmyra from ISIS by Russian forces called for a celebration. But this was no ordinary open air concert.
Faced with a hostile government, new, improvised music in Russia is flourishing on the fringe.
“The assumption is often that music is used to drown out other sounds of torture; in fact, music is an additional weapon used against prisoners.”
Two graphic designers on new classical album covers.
A conversation with Olga Neuwirth on the persistence of sexism in classical music.
A former El Sistema violinist on endless rehearsals, political manipulation, and what needs to change for the Venezuelan youth orchestra training program to live up to its reputation.
An interpretation of Schubert’s “Erlkönig” by the composer Georg Friedrich Haas.
A poem by David Ferry, in sound.
Conversations with members of Europe’s first black and minority ethnic orchestra, Chineke!
An interview with the composer Betsy Jolas.
Why do people stop playing music? Conversations with current and former musicians.
When the concert stage becomes a trigger for trauma, and what to do about it.
Chaya Czernowin discusses her upcoming opera “Infinite Now.”
A profile of the composer and ping pong player Chung Yiu-kwong.
Andreas Staier responds to our interview with Mahan Esfahani.
George Lewis on opera, genre, and race.
Andrés Andrade teaches opera to teenagers.
Orientalism and a plea for humanity in “The Land of Smiles.”
An interview with Brian Brandt, the founder of Mode Records, on the future of the music industry.
Dror Feiler’s radical politics and art.
Georges Aperghis has been thinking about robots.