New music
The formative sounds and experiences of composer Pauline Oliveros.
Yuval Sharon takes on opera’s future.
A profile of Cenk Ergün.
The Grossman Ensemble encourages productive failure.
Philip Thomas configures the moment.
How ambient is changing classical music.
The permanent revisions of Peter Eötvös.
Music the profession
Was an Aspen Music Festival musical production racist?
Fear, anger, and harassment at the Badisches Staatstheater in Karlsruhe.
A century apart, symmetrical cases of sexual harassment in opera.
An interview with Berlin Philharmonic artistic director Andrea Zietzschmann.
In Taiwan, an orchestra plays by COVID rules.
James Levine is suing the Met. No matter what, both parties lose.
After 19 years of sexual harassment allegations, Dan Welcher has been fired.
Political art
Was an Aspen Music Festival musical production racist?
Yuval Sharon takes on opera’s future.
Tracing Beethoven’s Ninth through the Brexit debacle.
Censorship, political correctness, and the legacy of “America’s Troubadour.”
A dual history of racism and the music of nature at ease.
Teju Cole’s musical obsessions.
The provocations of Frederic Rzewski.
Weird and wonderful
Yes, every single one.
A satire, a lawsuit, and a thin-skinned violinist.
Classical musicians in a culture war.
And wound up hating Mozart.
New classical music memes are actually funny.
Happy 250th!
An interview with the founder of IMSLP.
Opera
On Alex Ross’s Wagnerism: Art and Politics In the Shadow of Music.
What would singers do without them?
A century apart, symmetrical cases of sexual harassment in opera.
Two Met orchestra musicians. Zero paychecks.
Yuval Sharon takes on opera’s future.
Christian Gerhaher doesn’t want to entertain.
Exploring bisexuality through opera.
Soloists and conductors
The Coda of Leon Fleisher’s Life is to Search for Truth within Juxtaposition.
James Levine is suing the Met. No matter what, both parties lose.
Cameron Carpenter and the feedback loop of notoriety.
A Longtime Assistant Remembers Mariss Jansons.
Alan Gilbert starts fresh.
Paul Lewis makes his Berlin Philharmonic debut.
Kirill Gerstein’s marathon career.
Women and non-binary composers
The formative sounds and experiences of composer Pauline Oliveros.
Unsuk Chin suffers for her art.
An interview with the composer Betsy Jolas.
An interview with the composer Ashley Fure.
Meredith Monk translates biological process into a new language.
On Borealis, an experimental festival for music.
A corrective to the 2018 Oscars Original Score shortlist.
Personal essay
On listening to music while airborne.
Exploring bisexuality through opera.
A music critic listens with depression.
When the concert stage becomes a trigger for trauma, and what to do about it.
Is the prevalence of suicide in opera harmful or healing?
There is no absolution in art or life. A dispatch from Bayreuth.
On the interaction between personal identity and artistic freedom.
Strings
Daniela Huber’s orchestral transition.
Where did classical music’s most famous label go wrong?
Roberto González-Monjas and his painstaking preparation.
Alina Ibragimova wants it darker.
An interview with the cellist Steven Isserlis.
Why studies questioning the Stradivarius myth are so persuasive.
An interview with the new JACK Quartet cellist Jay Campbell.
Early music
The niche appeal of a historical diminution competition.
Yes, every single one.
Early music is Gwendolyn Toth’s religion.
Christian Gerhaher doesn’t want to entertain.
Vicente Lusitano and classical music’s selective memory.
Alina Rotaru wants to change the notes.
Pierre Hantaï teaches himself.
The voice
The formative sounds and experiences of composer Pauline Oliveros.
Christian Gerhaher doesn’t want to entertain.
Censorship, political correctness, and the legacy of “America’s Troubadour.”
On politics and solace in Schubert’s “Winterreise.”
Saul Williams’s words to music.
Mark Padmore wants attention and intention.
An interview with an opera casting director.
Literature and film
Books on the human relationships complicating the soloist’s life.
The Coda of Leon Fleisher’s Life is to Search for Truth within Juxtaposition.
Alan Hollinghurst on music.
Four new books bring music back to the world.
Teju Cole’s musical obsessions.
What opera should be learning from the movies.
The novelist Garth Greenwell on singing, literature, and the physicality of language.
Queer
The formative sounds and experiences of composer Pauline Oliveros.
Exploring bisexuality through opera.
The novelist Garth Greenwell on singing, literature, and the physicality of language.
On the sexual politics of musical metaphors.
“The Gender Agenda,” a musical gameshow by Philip Venables.
Alex Temple’s polystylistic exuberance.
Ione completes an opera by her late partner Pauline Oliveros.
Illness
What it’s like playing for a stream in an empty Miller Theatre.
A music critic listens with depression.
When the concert stage becomes a trigger for trauma, and what to do about it.
Is the prevalence of suicide in opera harmful or healing?
How the crisis will tectonically change classical music.
Small concert promoters salvage the future.
What one octogenarian performer’s experience reveals about getting old in the music business.
Music under Putin
Russian classical music’s money machine.
How Teodor Currentzis became a Russian sex symbol.
On the impact of Dmitri Hvorostovsky
Behind the hype of Teodor Currentzis.
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.
Perfect Pitch
Is a popular perfect pitch course a revelation or a scam?
Is a popular perfect pitch course a revelation or a scam?
Is a popular perfect pitch course a revelation or a scam?
Is a popular perfect pitch course a revelation or a scam?
Is a popular perfect pitch course a revelation or a scam?
Is a popular perfect pitch course a revelation or a scam?
Musicology
Remembering Linda Shaver-Gleason.
Susan McClary wants to debate the music.
An interview with the journalist and musicologist William Robin on “a scene without a name.”