PERSPECTIVE – Kent Nagano led the early-music ensemble Concerto Köln in a version based on lengthy research by a special committee that sought the sound Wagner might have hoped for when composing the piece in the 1850s.
PERSPECTIVE – As a writer in the early 1980s, I had heard that Steve had no time for the likes of us. My first encounter with him, at a party, seemed to bear that out. Evidently, he knew my byline, and I lost him at hello. Then we became friends.
PERSPECTIVE – The African Diaspora Music Project, created by opera singer and scholar Louise Toppin, has amassed a database of works by Black composers with the goal of moving concert programmers away from old formulas.
PERSPECTIVE – Bernard Haitink, who died Oct. 21 at age 92, was responsible for some of the most memorable performances I have attended. Objective and insightful, he was that rare maestro with an affinity for both Mahler and Bruckner.
PERSPECTIVE – The Sphinx Organization, which has helped to develop a plethora of skilled young classical musicians of color, will present a gala concert Oct. 15 at Carnegie Hall. Artistic director Afa Dworkin reflects on Sphinx's impact.
PERSPECTIVE – In Macduff’s aria mourning his murdered children, at Lyric Opera of Chicago's new Macbeth, tenor Joshua Guerrero offered his heart and soul. Then, amid the cheering, one loud boo. Really? After all we've been through?
PERSPECTIVE – The stylistic cross-pollination that runs through Bernstein's Mass, derided as "cheap and vulgar" five decades ago, has become familiar language. The work will see several performances during this anniversary year.
PERSPECTIVE – The Leuven Chansonnier, a tiny 600-page volume of 50 secular songs that turned up in a 2014 auction in Belgium, has sharpened our sense of what early music means, how it should be performed, and what it says to us.
PERSPECTIVE – Eugene Ormandy's record 44-year tenure with the Philadelphia Orchestra (1936-1980) stretched over sleepy seasons marred by his faulty conducting technique. Some musicians say he wouldn't have a major career today.
NEW YORK – The concert titled Pity These Ashes: Tulsa 1921-2021 featured works by Adolphus Hailstork, Jessie Montgomery, Trevor Weston, and Alice Coltrane, whose Prema, transcribed from piano to harp, drew on the jazz tradition.
PERSPECTIVE – Jonnet Solomon, a tax accountant and director of the Steel City Arts Initiative, has worked for decades to save the long-vacant home where Mary Cardwell Dawson established the National Negro Opera Company in 1941.
BOOK REVIEW – At its best when evoking Mozart's day-to-day life in an age of crude carriages, lousy air, and barbarous doctors, Jan Swafford's study asserts that "composers do not get much more successful than Mozart in his own time."
PERSPECTIVE – Michael Fabiano and fellow tenor John Viscardi run a non-profit program of their own creation called ArtSmart, which pays gifted young freelance singers to mentor pre-teen and teen students and give them voice lessons.
BOOK REVIEW – Three recent books about the composer-pianist offer rich insights into his life as man and musician. All three offer much to ponder, and time and again had this reader reaching for a score or a recording to follow up.
PERSPECTIVE – Even with some 60 works and a Pulitzer Prize to his credit, Joseph Schwantner's far-ranging sound palette and distinctive voice remain something of a hidden treasure, unfamiliar to much of the concertgoing public.
COMMENTARY – Black composers have been emerging over the past year at a dramatically accelerated pace that’s particularly rare amid the normally glacial progression of the classical music world. The next challenge is staying power.
DIGITAL REVIEW – Now available for streaming is a well-produced series of concerts by the Berlin Philharmonic titled The Golden Twenties. Works by composers from Weill and Strauss to Sibelius bespeak an era of exceptional creativity.
PERSPECTIVE – Terrance McKnight has always lived his life "between the two worlds" of being Black and being part of the classical music culture. He wants to bring everyone’s culture to the table, "not putting one above the other."
PERSPECTIVE – Stravinsky died 50 years ago on April 6, 1971. And so I found myself there, a music student all alone with his casket at the funeral home, the sounds of his music racing through my brain: Firebird, Petrouchka, Sacre du printemps.
COMMENTARY – What lies ahead for opera now? Gathering via Zoom, composer Ellen Reid, librettists Tazewell Thompson and Royce Vavrek, producer Kristin Martin and critics Heidi Waleson and Alex Ross discuss the transformative impact of this challenging year.