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Beleaguered Orchestra And New Music Director Hitch Wagon To Mahler
New England Dreaming: Small City’s Dedication Has Orchestra Thriving
Conductor Eun Sun Kim, Emerging Wagner Star, Leads Dazzling ‘Tristan’
Death Of Garcia Lorca, More Gritty Than Grand, Brings Flamenco To…
Spirituals Are Bountiful But Drama Is Slight In Opera On Fisk…
Canada
In Concerto ‘Fandango,’ Violin Spins Old Forms Into Bright New Dances
Orchestra’s ‘Wake Up!’ Sets Up Season Opener That’s ‘Pictures’-Perfect
As Bruckner Turns 200, Fleshing Out The Ninth With Prelude, Epilogue
Born Of A Competition, String Quartet Festival Carves Its Own Niche
Festival Performance, Listeners On Point For Mahler 7th Symphony
World
Greek Wins Conducting Competition; Japanese Hosts Merit Gold, Too
Mahler On Home Turf: 7th Symphony Heard At Site Of Czech…
Through Different Prism: Rachmaninoff, Wagner As Festival Novelties
Weinberg Opera Rarity And ‘Hamlet’ In Concert Score High At Salzburg
Spontini Opera Revival Preserves Music, Adds Screams, Tosses Story
Digital
Shedding Words, Two Ensembles Articulate Charm Of Early Music
Recording, Reassessing Saariaho Opera Whose Worth Is Still Unknown
Robeson Compendium: Like Trailblazing Artist, CD Set Is Monumental
Three Decades Later, Hamelin Revisits Depths Of The ‘Hammerklavier’
Vänskä And Minnesota Wrap Mahler Cycle With Sonically Glorious Third
Perspectives
After Opening Plaudits, Even Best New Operas Face An Unsure Future
Even Greatest Voices Can Succumb To Nerves Or Imbibing Nasty Stuff
Seeking Higher Crest, Escher String Quartet Rides Wave Of Bartók
Visionary Koussevitzky Will Be Celebrated In Tanglewood Concerts
20th-Century American Operas Receding From View On Nation’s Stages
Our Critics’ Picks
Aspen Festival To Mark 75 Years As Wellspring Of Musical Nourishment
Tennstedt Bio Reveals Great Maestro At Odds With World and…
35 Years On, Adams’ ‘Nixon In China’ Gets New Looks In…
Amid Flourish Of Horns, Maestro Extends Chase Of Haydn’s Symphonies
American Opera, Voices Flavor Creative Mix On Stages Across Europe
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Posts by Rebecca Schmid
Rebecca Schmid
95 POSTS
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Rebecca Schmid, Ph.D., is a music writer based in Vienna. Her book Weill, Blitzstein and Bernstein: A Study of Influence was recently released by University of Rochester Press/Boydell & Brewer.
Schreker Revival Takes Original To Still Darker Place
Rebecca Schmid
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January 25, 2018
Staging Captures ‘L’Enfance du Christ’ As Living Nativity
Rebecca Schmid
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December 20, 2017
Vibrant ‘Prophète’ Goes The Five-Act Distance (Almost)
Rebecca Schmid
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November 29, 2017
Rattle, Berlin Aim To Tempt Appetite For Musical ‘Tapas’
Rebecca Schmid
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November 6, 2017
‘Wozzeck,’ Chamber Scaled, Still Packs Its Violent Punch
Rebecca Schmid
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October 21, 2017
Swirling Episodes Of Sound Probing New Sonics? ‘Yes’!
Rebecca Schmid
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September 14, 2017
Connections Made, Or Missed, Across Many Cultures
Rebecca Schmid
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September 2, 2017
For Opera-Bound, Competition Final Is All-Around Win
Rebecca Schmid
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July 31, 2017
Weill Fest Explores Music’s Advocate For Social Progress
Rebecca Schmid
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July 6, 2017
‘Trip To The Moon:’ Gift To Amateurs, Laced With Maxim
Rebecca Schmid
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June 20, 2017
Lunar ‘Parsifal:’ Toto, We’re Not In Bayreuth Anymore
Rebecca Schmid
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June 8, 2017
Rattle Nears Exit In Berlin, Remains Champion Of New
Rebecca Schmid
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June 5, 2017
Granted, Medea Is A Murderer, But Her Kids Are Dolls
Rebecca Schmid
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May 26, 2017
Old Music In New Venue: Paris Puts Hall In The Seine
Rebecca Schmid
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April 28, 2017
Comic ‘Sorochintsy’: Pigs On Stilts In Ukrainian Village
Rebecca Schmid
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April 5, 2017
‘Death In Venice’: Cast Is Ripe, But Staging Is Green
Rebecca Schmid
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March 24, 2017
Scartazzini Opera Fails To Shock In Berlin Premiere
Rebecca Schmid
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February 26, 2017
Rattle, Berlin Phil Explore Drama In Symphonic Music
Rebecca Schmid
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February 16, 2017
Visual Magic Hits, Misses In Ravel, Stravinsky Bill
Rebecca Schmid
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February 2, 2017
Rihm’s ‘Tutuguri’ Leaves Percussive Tattoo On Festival
Rebecca Schmid
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September 6, 2016
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