• 3. November 2020 •

Alan Pierson on rhythm, the gay aesthetic, and his late colleague Matt Marks.

 • 14. April 2016 •

The formative sounds and experiences of composer Pauline Oliveros.

 • 23. November 2017 •

Jessica Ekomane believes in mistakes.

 • 5. January 2017 •

Yuval Sharon takes on opera’s future.

 • 26. March 2020 •

A profile of Cenk Ergün.

 • 3. September 2020 •

The Grossman Ensemble encourages productive failure.

 • 5. February 2020 •

Philip Thomas configures the moment.

 • 12. November 2020 •

What’s behind Orpheus Classical?

 • 15. October 2020 •

An Interview with Titus Underwood

 • 8. October 2020 •

Nicholas Daniel’s plan to reform UK classical music.

 • 27. August 2020 •

Was an Aspen Music Festival musical production racist?

 • 30. July 2020 •

Fear, anger, and harassment at the Badisches Staatstheater in Karlsruhe.

 • 16. July 2020 •

A century apart, symmetrical cases of sexual harassment in opera.

 • 11. June 2020 •

In Taiwan, an orchestra plays by COVID rules.

 • 19. November 2020 •

Remembering Maria Yudina 50 years after her death.

 • 6. November 2020 •

The US election’s deceptive cadence.

 • 17. October 2020 •

The renewed relevance of Beethoven’s “Egmont”

 • 27. August 2020 •

Was an Aspen Music Festival musical production racist?

 • 5. January 2017 •

Yuval Sharon takes on opera’s future.

 • 5. March 2020 •

Tracing Beethoven’s Ninth through the Brexit debacle.

 • 7. June 2018 •

Censorship, political correctness, and the legacy of “America’s Troubadour.”

 • 27. November 2020 •

Oh, what fun.

 • 22. October 2020 •

The classical leanings of one of LSD’s biggest advocates.

 • 3. November 2020 •

…in Case You Need to Scream

 • 1. December 2016 •

Does marijuana have a future in classical music?

 • 26. July 2018 •

Bang on a Can, “Arthur,” and the avant-garde music meme factory.

 • 25. June 2020 •

Yes, every single one.

 • 18. January 2018 •

A satire, a lawsuit, and a thin-skinned violinist.

 • 29. October 2020 •

Alex Ross on Richard Wagner.

 • 14. September 2020 •

On Alex Ross’s Wagnerism: Art and Politics In the Shadow of Music.

 • 16. August 2018 •

What would singers do without them?

 • 16. July 2020 •

A century apart, symmetrical cases of sexual harassment in opera.

 • 5. January 2017 •

Yuval Sharon takes on opera’s future.

 • 18. February 2016 •

Christian Gerhaher doesn’t want to entertain.

 • 9. April 2020 •

Exploring bisexuality through opera.

 • 6. August 2020 •

The Coda of Leon Fleisher’s Life is to Search for Truth within Juxtaposition.

 • 24. May 2018 •

James Levine is suing the Met. No matter what, both parties lose.

 • 11. December 2019 •

Cameron Carpenter and the feedback loop of notoriety.

 • 5. December 2019 •

A Longtime Assistant Remembers Mariss Jansons.

 • 22. May 2019 •

Alan Gilbert starts fresh.

 • 1. May 2019 •

Paul Lewis makes his Berlin Philharmonic debut.

 • 18. January 2018 •

Kirill Gerstein’s marathon career.

 • 14. April 2016 •

The formative sounds and experiences of composer Pauline Oliveros.

 • 23. November 2017 •

Jessica Ekomane believes in mistakes.

 • 2. November 2017 •

Unsuk Chin suffers for her art.

 • 18. January 2016 •

An interview with the composer Betsy Jolas.

 • 30. March 2017 •

An interview with the composer Ashley Fure.

 • 29. March 2018 •

Meredith Monk translates biological process into a new language.

 • 15. March 2018 •

On Borealis, an experimental festival for music.

 • 8. October 2017 •

On listening to music while airborne.

 • 9. April 2020 •

Exploring bisexuality through opera.

 • 7. June 2018 •

A music critic listens with depression.

 • 30. March 2017 •

When the concert stage becomes a trigger for trauma, and what to do about it.

 • 29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

 • 7. August 2019 •

There is no absolution in art or life. A dispatch from Bayreuth.

 • 1. December 2016 •

On the interaction between personal identity and artistic freedom.

 • 24. September 2020 •

Daniela Huber’s orchestral transition.

 • 11. May 2017 •

Where did classical music’s most famous label go wrong?

 • 8. October 2017 •

Roberto González-Monjas and his painstaking preparation.

 • 21. September 2017 •

Alina Ibragimova wants it darker.

 • 8. June 2017 •

An interview with the cellist Steven Isserlis.

 • 8. June 2017 •

Why studies questioning the Stradivarius myth are so persuasive.

 • 13. April 2017 •

An interview with the new JACK Quartet cellist Jay Campbell.

 • 18. June 2020 •

The niche appeal of a historical diminution competition.

 • 25. June 2020 •

Yes, every single one.

 • 27. February 2020 •

Early music is Gwendolyn Toth’s religion.

 • 18. February 2016 •

Christian Gerhaher doesn’t want to entertain.

 • 23. April 2020 •

Vicente Lusitano and classical music’s selective memory.

 • 5. July 2018 •

Alina Rotaru wants to change the notes.

 • 14. June 2018 •

Pierre Hantaï teaches himself.

 • 29. October 2020 •

Alex Ross on Richard Wagner.

 • 9. July 2020 •

Books on the human relationships complicating the soloist’s life.

 • 6. August 2020 •

The Coda of Leon Fleisher’s Life is to Search for Truth within Juxtaposition.

 • 31. October 2019 •

Alan Hollinghurst on music.

 • 14. May 2020 •

Four new books bring music back to the world.

 • 30. March 2017 •

Teju Cole’s musical obsessions.

 • 21. November 2019 •

What opera should be learning from the movies.

 • 14. April 2016 •

The formative sounds and experiences of composer Pauline Oliveros.

 • 25. January 2018 •

Mark Padmore wants attention and intention.

 • 18. February 2016 •

Christian Gerhaher doesn’t want to entertain.

 • 7. June 2018 •

Censorship, political correctness, and the legacy of “America’s Troubadour.”

 • 24. August 2017 •

On politics and solace in Schubert’s “Winterreise.”

 • 6. July 2017 •

Saul Williams’s words to music.

 • 12. June 2019 •

An interview with an opera casting director.

 • 14. April 2016 •

The formative sounds and experiences of composer Pauline Oliveros.

 • 9. April 2020 •

Exploring bisexuality through opera.

 • 14. February 2019 •

The novelist Garth Greenwell on singing, literature, and the physicality of language.

 • 28. June 2018 •

On the sexual politics of musical metaphors.

 • 19. April 2018 •

“The Gender Agenda,” a musical gameshow by Philip Venables.

 • 26. January 2017 •

Alex Temple’s polystylistic exuberance.

 • 16. November 2017 •

Ione completes an opera by her late partner Pauline Oliveros.

 • 27. November 2020 •

Can opera techniques help COVID-19 patients?

 • 19. March 2020 •

What it’s like playing for a stream in an empty Miller Theatre.

 • 7. June 2018 •

A music critic listens with depression.

 • 30. March 2017 •

When the concert stage becomes a trigger for trauma, and what to do about it.

 • 29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

 • 2. April 2020 •

How the crisis will tectonically change classical music.

 • 7. May 2020 •

Small concert promoters salvage the future.

 • 1. February 2018 •

How Teodor Currentzis became a Russian sex symbol.

 • 26. April 2018 •

Russian classical music’s money machine.

 • 30. November 2017 •

On the impact of Dmitri Hvorostovsky

 • 1. June 2017 •

Behind the hype of Teodor Currentzis.

 • 24. May 2016 •

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.

 • 24. May 2016 •

Faced with a hostile government, new, improvised music in Russia is flourishing on the fringe.

 • 5. July 2018 •

Is a popular perfect pitch course a revelation or a scam?

 • 31. May 2018 •

Is a popular perfect pitch course a revelation or a scam?

 • 10. May 2018 •

Is a popular perfect pitch course a revelation or a scam?

 • 26. April 2018 •

Is a popular perfect pitch course a revelation or a scam?

 • 12. April 2018 •

Is a popular perfect pitch course a revelation or a scam?

 • 29. March 2018 •

Is a popular perfect pitch course a revelation or a scam?

 • 19. November 2020 •

Remembering Maria Yudina 50 years after her death.

 • 20. January 2020 •

Remembering Linda Shaver-Gleason.

 • 8. February 2018 •

Susan McClary wants to debate the music.

 • 6. October 2016 •

An interview with the journalist and musicologist William Robin on “a scene without a name.”

 • 22. October 2020 •

An interview with Wendy M.K. Shaw