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Classical Voice North America
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Around the U.S.
Bach Festival’s Original American Salute: Music Of Indigenous Peoples
Glass’ Lincoln Tribute Reflects A Great Leader In His Own Quiet…
New And Diverse Works Tell World Of Stories At Chamber Music…
An Early-Music Veteran Keeps Edge On The Old At Vibrant Baroque…
Bountiful Chamber Fest Buffs Stellar Tradition With Grand New Piano
Canada
Montreal Orchestra Displays Rapport With Diversity Of Americana
No Sets, No Costumes, But Music, Imagination Fire Concert ‘Turandot’
On An Ambitious Spring Trek, Singer And Pianist Cycle Through Schubert
Oh, You Kid! As Young Musicians Rise, Slatkin Shows Veteran Finesse
Braving Cold Rewarded In Bracing Concerts Of Tchaikovsky, Film Fare
World
Paris’ Musical Culture Showcases Its Splendor In A Time Of Transition
London Zeal For Music Tells As Crowds Cheer ‘Peter Grimes,’ Wagner
Rossini’s ‘Cenerentola,’ Centuries-Late Premiere Reward Paris Excursion
‘Ancient Mariner’ Redux: Violist As Narrator, And Thirsting For Real Depth
‘Parsifal’ Semi-Staged, Sort Of Costumed, But Musically The Holy Grail
Digital
Beckett’s ‘Endgame’ Gets An Operatic Spin As Wry As The Original
Sinking Petals, Ozone, Nature’s Quiet Sorrow: Songs Of The Earth
Cleveland Orchestra’s Portrait Of A Composer Profiles Community Ties
In Paean To Mythic Idyll, A Recording Embraces Spirit Of The…
Taking On Prokofiev With Pianistic Means, But Wit Waxes, Wanes
Perspectives
The Battle Of Boston: Critic’s Words Resound In ‘Defending The Music’
100 Years Ago, Electric Recording Injected New Spark In Music’s Legacy
Composers Coach Talks Art Of Nurturing Youth On New ‘Classical Gas’
Sarah Kirkland Snider’s ‘Hildegard’ Wins Critics’ Nod As Best New Opera
Chicago-Based Critic Hannah Edgar Named Winner Of Littler Prize
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International
‘Parsifal’ Semi-Staged, Sort Of Costumed, But Musically The Holy Grail
Klaus Billand
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June 11, 2026
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