Joshua Barone

Joshua Barone is a music journalist. Below are 300 of 896 articles datpiff.ink indexes across 1 publication. Each links out to the original at the publisher.

• The Best Classical Music and Opera of 2026, So Far — The New York Times · Jun 16, 2026
• The Philharmonic and the Met Engage in a Battle of the Bands — The New York Times · Jun 12, 2026
• Why People Sound Like Instruments, and Instruments Look Like People — The New York Times · Jun 05, 2026
• The Maestro of ‘Succession’ Takes On a New Drama: The N.B.A. — The New York Times · Jun 03, 2026
• Beyond ‘Amadeus’: Where to See Composers Onscreen — The New York Times · Jun 02, 2026
• Behind an Opera Comeback: A Big Personality and ‘Creative Fund-Raising’ — The New York Times · May 26, 2026
• A Future Star of the Met Opera’s ‘Ring’ Tries Out His Role — The New York Times · May 25, 2026
• Review: Frida Kahlo and Diego Rivera, Reunited on the Opera Stage — The New York Times · May 15, 2026
• Review: Yunchan Lim Warms Up for Graduation at Carnegie Hall — The New York Times · Apr 26, 2026
• Her Voice Is Unlike Anything in Opera — The New York Times · Apr 22, 2026
• A Composer Who Loops Musical Time and History — The New York Times · Apr 21, 2026
• Review: Seeing a School Shooting on America’s Biggest Opera Stage — The New York Times · Apr 07, 2026
• Salzburg Festival Fires Its Artistic Director — The New York Times · Mar 27, 2026
• A Troubling Problem at the Heart of the Met Opera’s Big Hit — The New York Times · Mar 26, 2026
• Mozart Wouldn’t Be Mozart Without These Three Objects — The New York Times · Mar 25, 2026
• Gustavo Dudamel’s Portrait Emerges From a Season of Introductions — The New York Times · Mar 20, 2026
• Review: ‘Tristan und Isolde’ Heralds a New Era at the Met Opera — The New York Times · Mar 10, 2026
• At 100, This Composer Is Still Searching for the Right Note — The New York Times · Mar 10, 2026
• After Leaving the Kennedy Center, an Opera Company Shows Signs of Life — The New York Times · Mar 09, 2026
• Fritz Lang’s Silent Epic, the Way It Was Meant to Be Heard — The New York Times · Feb 18, 2026
• With a Golden Toilet and Miss Piggy, an Opera Takes Aim at Trump — The New York Times · Feb 17, 2026
• A Composer’s Final Masterpiece Heads to the Met Opera Without Her — The New York Times · Feb 16, 2026
• Review: A Warning of American Despair Returns to the Philharmonic — The New York Times · Jan 23, 2026
• Old Is New Again: Salonen Returns to the Los Angeles Philharmonic — The New York Times · Jan 21, 2026
• After Sudden Loss, Park Avenue Armory Hires New Artistic Leader — The New York Times · Jan 13, 2026
• Modern American Opera Wouldn’t Be the Same Without Her — The New York Times · Jan 06, 2026
• Review: Singers Come First in the Met Opera’s New ‘Puritani’ — The New York Times · Jan 01, 2026
• Miracle on 64th Street: Options for Holiday Opera — The New York Times · Dec 23, 2025
• After 100 Years, an Operatic Masterpiece Keeps Shocking Us — The New York Times · Dec 14, 2025
• Best Classical Performances of 2025 — The New York Times · Dec 09, 2025
• Frank Gehry’s Buildings Sound as Marvelous as They Look — The New York Times · Dec 06, 2025
• Review: A Cozy ‘Arabella’ Returns to the Met Opera — The New York Times · Nov 19, 2025
• A 50-Year Friendship, Recorded in Music — The New York Times · Nov 18, 2025
• A Torch Bearer of Italian Tradition Brings Stability to the Met Opera — The New York Times · Nov 18, 2025
• Review: A Chinese Classic Comes to Spectacular Operatic Life — The New York Times · Nov 17, 2025
• Review: Hildegard of Bingen’s Extraordinary Life, on Operatic Scale — The New York Times · Nov 10, 2025
• Rosalía’s ‘Lux’ Is Operatic. But Is It Opera? — The New York Times · Nov 07, 2025
• Review: Arvo Pärt Gets the 90th Birthday Concert He Deserves — The New York Times · Oct 24, 2025
• Can an Israel Philharmonic Concert Be Just About Music? — The New York Times · Oct 20, 2025
• How to Watch the Olympics of the Piano World — The New York Times · Oct 18, 2025
• A Soprano’s Decade at the Met, Capped With a Thrilling High Note — The New York Times · Oct 17, 2025
• Sandra Oh’s Career Takes a Musical Turn With Her Opera Debut — The New York Times · Oct 16, 2025
• Did a Single Generation Ruin Modern Music for Everyone Else? — The New York Times · Oct 07, 2025
• Review: A ‘Don Giovanni’ Revival at the Met Must Be Heard — The New York Times · Oct 06, 2025
• 50 Pianos Rumble With the Sound of ‘11,000 Strings’ — The New York Times · Oct 01, 2025
• Review: A ‘Kavalier & Clay’ Opera Doesn’t Meet Its Moment — The New York Times · Sep 22, 2025
• Review: Gustavo Dudamel Gives a Glimpse of New York’s Future — The New York Times · Sep 12, 2025
• Arvo Pärt Reached Pop Star Status. Now He’s Ready to Rest. — The New York Times · Sep 11, 2025
• He’s Stepping Into the Heels of Maria Callas — The New York Times · Sep 05, 2025
• Esa-Pekka Salonen’s Next Move: Reinventing the Maestro — The New York Times · Sep 02, 2025
• Cecilia Bartoli Knows What Makes Good Opera and Ragù: Time — The New York Times · Aug 12, 2025
• Brooklyn Rider Still Has More to Say With the String Quartet — The New York Times · Aug 06, 2025
• Review: At 93, John Williams Unveils His First Piano Concerto — The New York Times · Jul 28, 2025
• A New ‘Billy Budd’ Is a Pressure Cooker of Gay Desire — The New York Times · Jul 18, 2025
• Pierre Audi’s Last Act: A Dreamer’s Ambition on the Opera Stage — The New York Times · Jul 11, 2025
• How to Experience Opera’s Most Interesting Festival From Afar — The New York Times · Jul 08, 2025
• The Classical Music Our Critics Can’t Stop Thinking About — The New York Times · Jul 03, 2025
• Satie’s Music Will Always Be Popular. But Will We Ever Understand It? — The New York Times · Jul 01, 2025
• At the Cloisters, Percussion and Dance Move Through Medieval Spaces — The New York Times · Jun 26, 2025
• The Best Classical Music of 2025, So Far — The New York Times · Jun 18, 2025
• At 85, Annea Lockwood Isn’t Done Listening to the Earth — The New York Times · Jun 04, 2025
• These Fans Love ‘Pride & Prejudice’ a Billion Times Over — The New York Times · Jun 01, 2025
• Review: A Game of Light and Shadow in Gounod’s ‘Faust’ — The New York Times · May 18, 2025
• The Opera Built From Pyramids, Old Hollywood and Beyoncé — The New York Times · May 12, 2025
• The Classical Music Our Critics Can’t Stop Thinking About — The New York Times · May 08, 2025
• An Operatic ‘Diamond on the Side of the Road’ Catches Light Again — The New York Times · May 06, 2025
• The Frick Needs a New Piano. Which Would You Choose? — The New York Times · Apr 22, 2025
• In Upstate New York, Where Even the Opera Is Locavore — The New York Times · Apr 18, 2025
• The Classical Music Our Critics Can’t Stop Thinking About — The New York Times · Apr 09, 2025
• Pierre Boulez Was a Titan of 20th-Century Music. What About Now? — The New York Times · Apr 08, 2025
• Three New Works of Theater to Share One Trait: Hope — The New York Times · Apr 01, 2025
• Opera Has a Sustainability Problem. One Company Wants to Fix It. — The New York Times · Mar 25, 2025
• Review: ‘We Are the Lucky Ones’ Gives Voice to a Generation — The New York Times · Mar 17, 2025
• The Classical Music Our Critics Can’t Stop Thinking About — The New York Times · Mar 06, 2025
• Review: With ‘Fidelio,’ the Met Opera Does What It Does Best — The New York Times · Mar 05, 2025
• A Conductor at the Top, and Still Learning on the Job — The New York Times · Feb 25, 2025
• Two Concerts Reveal the Limits of a Pianist’s Broad Repertoire — The New York Times · Feb 21, 2025
• Barrie Kosky Is the Director New York Has Been Waiting For — The New York Times · Feb 18, 2025
• Why Is an Entire Age of American Opera Missing at the Met? — The New York Times · Feb 17, 2025
• A Top Pianist and a Great Composer Walk Into a Bar … — The New York Times · Jan 15, 2025
• Review: For the Met Opera’s ‘Tosca,’ Third Cast’s a Charm — The New York Times · Jan 10, 2025
• Why ‘Show Boat’ Is America’s Most Enduring, Unstable Musical — The New York Times · Jan 08, 2025
• The Classical Music Our Critics Can’t Stop Thinking About — The New York Times · Jan 02, 2025
• What We Can Learn From the First Truly Modern Composer — The New York Times · Dec 24, 2024
• Paris Hilton and Nicole Richie Give a Surprising Education in Opera — The New York Times · Dec 16, 2024
• The Stewards of Czech Musical Heritage Return to Carnegie Hall — The New York Times · Dec 06, 2024
• The Revolutionary Sound at the Heart of a Holiday Classic — The New York Times · Dec 03, 2024
• The Classical Music Our Critics Can’t Stop Thinking About — The New York Times · Dec 03, 2024
• Bringing the Magic of ‘Fanny and Alexander’ to the Opera Stage — The New York Times · Dec 01, 2024
• Rebuilding After Fire, Jacob’s Pillow Will Open a New Theater — The New York Times · Nov 20, 2024
• Review: The Philharmonic Gives a Master Class in Programming — The New York Times · Nov 15, 2024
• Finnish Conductors Take Over the New York Philharmonic — The New York Times · Nov 08, 2024
• 6 Performances Our Classical Critics Can’t Stop Thinking About — The New York Times · Oct 30, 2024
• Philip Glass’s Musical Impression of an Artist Cut Down by AIDS — The New York Times · Oct 25, 2024
• Review: ‘Ainadamar’ Fills the Met Opera Stage With Flamenco — The New York Times · Oct 16, 2024
• A 21-Year-Old Violinist Emerges From a Field Crowded With Prodigies — The New York Times · Oct 15, 2024
• Gustavo Dudamel Visits New York With Promise, and a Warning — The New York Times · Oct 11, 2024
• An Oasis in England’s Troubled, Polarized Opera Landscape — The New York Times · Oct 01, 2024
• What Belongs to Opera? Garth Greenwell’s Novel of Desire — The New York Times · Sep 24, 2024
• Only Connect: Meredith Monk’s Antidote to What Divides Us — The New York Times · Sep 22, 2024
• ‘Grounded’: How a New Opera Changed on Its Way to the Met — The New York Times · Sep 07, 2024
• Classical Music and Opera This Fall: Programs, Premieres and More — The New York Times · Sep 06, 2024
• What if Orchestras Were More Like Netflix? — The New York Times · Sep 03, 2024
• 5 Breakouts From Classical Music’s Most Prestigious Festival — The New York Times · Aug 20, 2024
• One of Classical Music’s Great Builders Prepares for the Next Step — The New York Times · Aug 16, 2024
• Has a Neglected Soviet-Era Composer’s Time Finally Come? — The New York Times · Aug 13, 2024
• Esa-Pekka Salonen: A Conductor at the Top, and at a Crossroads — The New York Times · Aug 13, 2024
• As War in Ukraine Persists, Where Is a Conductor’s Red Line? — The New York Times · Aug 07, 2024
• The World Is Still Catching Up to the Music of Hector Berlioz — The New York Times · Aug 06, 2024
• Review: Death Drives a New ‘Tristan’ at Wagner’s Festival — The New York Times · Aug 04, 2024
• At 97, This Conductor Is Modest and Extraordinary — The New York Times · Aug 02, 2024
• Review: A Lost Opera Returns, and Shouldn’t Be Lost Again — The New York Times · Jul 21, 2024
• Why We Still Want to Hear the ‘Ode to Joy,’ 200 Years Later — The New York Times · Jul 02, 2024
• Can a New Leader Make the Boston Symphony Innovative Again? — The New York Times · Jun 25, 2024
• Virginia Woolf, but Make It a Polyphonic, Sensory Ballet — The New York Times · Jun 24, 2024
• A Met Orchestra of Mixed Quality Returns to Carnegie Hall — The New York Times · Jun 16, 2024
• At the Ojai Festival, a Star Pianist Keeps the Focus on Young Artists — The New York Times · Jun 11, 2024
• When Vienna’s Opera Tradition Got Too Traditional, They Stepped In — The New York Times · Jun 11, 2024
• Little Island Gets a Reboot, With a Rising Star at the Helm — The New York Times · Jun 05, 2024
• Adventures in Space and Time With Stockhausen — The New York Times · Jun 03, 2024
• The End of a Maestro’s Era Approaches at the Philharmonic — The New York Times · May 31, 2024
• Review: An Opera Saw Red-Pill Culture Coming. Now, It’s Back. — The New York Times · May 10, 2024
• Review: A Fierce Soprano Arrives at the Met in ‘Madama Butterfly’ — The New York Times · Apr 28, 2024
• For Her Met Opera Debut, Lileana Blain-Cruz Directs ‘El Niño’ — The New York Times · Apr 22, 2024
• Review: Thomas Adès Meets the Profound Beauty of Schubert — The New York Times · Apr 19, 2024
• Jorie Graham’s Poetry of the Earth and Humanity, Set to Music — The New York Times · Apr 18, 2024
• Before She Became Music’s Greatest Teacher, She Wrote an Opera — The New York Times · Apr 17, 2024
• Where Are New York’s Best Acoustics? We Took a Listening Tour. — The New York Times · Apr 11, 2024
• A Conductor Who Believes That No Artist Can Be Apolitical — The New York Times · Apr 09, 2024
• As Heartbeat Opera Reaches a Milestone, So Does Its Musical Leader — The New York Times · Apr 04, 2024
• Beyoncé’s ‘Cowboy Carter’ Adopts the Music of Opera Singers, Too — The New York Times · Mar 29, 2024
• How Did Wagner Want His ‘Ring’ Cycle to Sound? — The New York Times · Mar 19, 2024
• Review: ‘The Shell Trial’ Seeks a Guilty Party in Climate Change — The New York Times · Mar 18, 2024
• Thomas Adès Takes a Step Toward the Classical Music Canon — The New York Times · Mar 15, 2024
• Yvonne Loriod Was So Much More Than a Composer’s Muse — The New York Times · Mar 13, 2024
• ‘As Living as Opera Can Get’: John Cage’s Anarchic Anti-Canon — The New York Times · Mar 06, 2024
• The Vienna Philharmonic Tours With a Favorite Conductor — The New York Times · Mar 04, 2024
• Lise Davidsen, Star Soprano of the Met, Takes an Italian Turn — The New York Times · Feb 25, 2024
• Review: A Case for Understated Majesty at the Philharmonic — The New York Times · Feb 23, 2024
• Can You Smell Music? A Perfumer Weaves Scent and Sound. — The New York Times · Feb 23, 2024
• Young Artists Make Back-to-Back Debuts at the Philharmonic — The New York Times · Feb 16, 2024
• Schubert’s Operas Were Failures. Is Their Music Worth Saving? — The New York Times · Feb 15, 2024
• A Model for Modern ‘Ring’ Operas Is Unfolding in Brussels — The New York Times · Feb 14, 2024
• The Musical Force Behind the Communal, Queer ‘Bark of Millions’ — The New York Times · Feb 04, 2024
• As Changes Come to Boston Symphony, Conductor’s Contract Is Extended — The New York Times · Jan 25, 2024
• Review: Hilary Hahn Gives, and Gets, at the Philharmonic — The New York Times · Jan 12, 2024
• ‘Everything Has a Time’: Cleveland’s Longest-Serving Conductor Plans His Departure — The New York Times · Jan 11, 2024
• Willa Cather and Yehudi Menuhin: An Unlikely, Unwavering Friendship — The New York Times · Jan 04, 2024
• Stephen Sondheim Belongs in the Pantheon of American Composers — The New York Times · Dec 14, 2023
• Review: Climate Protests Upstage a Debut at the Met Opera — The New York Times · Dec 01, 2023
• Philip Glass’s Piano Etudes: A Diary of an Influential Life — The New York Times · Nov 16, 2023
• Review: Anthony Davis’s Malcolm X Opera Finally Arrives at the Met — The New York Times · Nov 05, 2023
• How California Became America’s Contemporary Music Capital — The New York Times · Oct 29, 2023
• What Is John Eliot Gardiner’s Musical Empire Without Him? — The New York Times · Oct 27, 2023
• Review: A ‘Rodelinda’ Brings Promise of Handel on the Hudson — The New York Times · Oct 22, 2023
• Review: ‘The Hunt’ Playfully Makes the Medieval Contemporary — The New York Times · Oct 13, 2023
• His Music Spanned Classical and Disco. Now a ‘Lost’ Work Sounds Again. — The New York Times · Sep 28, 2023
• Opera Philadelphia Cuts Its Budget, but Not Its Ambition — The New York Times · Sep 25, 2023
• Schubert at the Vast Park Avenue Armory: Intimate, Lonely, Exposed — The New York Times · Sep 20, 2023
• Review: A Soprano’s Recital Captures Her Brilliant Sincerity — The New York Times · Sep 12, 2023
• The Teacher Behind the World’s Great Conductors — The New York Times · Sep 08, 2023
• Classical Music and Opera This Fall: Programs, Premieres and More — The New York Times · Sep 04, 2023
• The Soprano Ailyn Pérez Doesn’t Feel Like a Beginner Anymore — The New York Times · Sep 03, 2023
• A Conductor Who Wants to Put You ‘Inside the Sound’ — The New York Times · Aug 16, 2023
• At Santa Fe Opera, the Oldest Work Is Also the Freshest — The New York Times · Aug 06, 2023
• Review: A ‘Semele’ Bound for New York Takes Its First Bows — The New York Times · Jul 16, 2023
• Louis Langrée Wraps Up a Quietly Transformative Era of Conducting — The New York Times · Jul 14, 2023
• The Ups and Downs of Europe’s Most Interesting Opera Festival — The New York Times · Jul 11, 2023
• At a French Opera Festival, Premieres in Pursuit of Happiness — The New York Times · Jul 09, 2023
• At 80, Meredith Monk Is Still Seeking Ways to Communicate — The New York Times · Jun 25, 2023
• In San Francisco, a Week of Destination Opera — The New York Times · Jun 14, 2023
• Review: Revisiting a Kaija Saariaho Opera Days After Her Death — The New York Times · Jun 12, 2023
• Review: The Philharmonic Journeys From Ocean to Desert — The New York Times · Jun 09, 2023
• Kaija Saariaho, 70, Pathbreaking Composer of Singular Colors, Is Dead — The New York Times · Jun 02, 2023
• After a Surprise Debut, the Conductor Thomas Guggeis Is Rising Fast — The New York Times · May 27, 2023
• A Pianist’s Rare Visit to New York Reveals His Personality — The New York Times · May 25, 2023
• The ‘Succession’ Soundtrack Is Fit for a Concert Hall — The New York Times · May 25, 2023
• Gabriella Smith’s Music Marvels at Nature With Grooving Joy — The New York Times · May 24, 2023
• Review: ‘Stranger Love’ Reflects the L.A. Philharmonic at Its Finest — The New York Times · May 22, 2023
• Claire Chase Is Changing How People Think of the Flute — The New York Times · May 16, 2023
• Review: After 55 Years, the Helsinki Philharmonic Returns to Carnegie Hall — The New York Times · May 10, 2023
• Rhiannon Giddens and Michael Abels Win the Pulitzer Prize for Music — The New York Times · May 08, 2023
• What to See on Europe’s Opera Stages Next Season — The New York Times · May 03, 2023
• The Shed Plans to Bring a Modernist Dream to Life — The New York Times · May 02, 2023
• The Pains and Privileges of Staging Mozart’s ‘Don Giovanni’ — The New York Times · Apr 29, 2023
• Review: The Danish String Quartet Spins Through Schubert — The New York Times · Apr 21, 2023
• Review: The Philharmonic’s Artist in Residence Wears Two Hats — The New York Times · Apr 16, 2023
• At 150, Rachmaninoff and His Music Are ‘Here to Stay’ — The New York Times · Apr 03, 2023
• Review: Doleful ‘Vespers’ Pray for an Earth in Crisis — The New York Times · Apr 02, 2023
• Review: Philip Glass and the Meaning of Life — The New York Times · Mar 31, 2023
• Review: The Philharmonic’s ‘Passion’ Is a Surprising Achievement — The New York Times · Mar 24, 2023
• For This Classical Piano Star, a Detour Is Business as Usual — The New York Times · Mar 16, 2023
• Review: The Time for Prokofiev’s ‘War and Peace’ Is Now — The New York Times · Mar 10, 2023
• Review: Mitsuko Uchida Revisits Beethoven’s Final Sonatas — The New York Times · Feb 26, 2023
• A New ‘Lohengrin,’ Threatened by War in Ukraine, Comes to the Met — The New York Times · Feb 23, 2023
• Gustavo Dudamel: An Introduction in 10 Recordings — The New York Times · Feb 07, 2023
• Review: Dvorak’s ‘Poetic Tone Pictures’ Makes Its Carnegie Debut — The New York Times · Feb 01, 2023
• In Chicago, ‘Opera Can Be Hip-Hop, and Hip-Hop Can Be Opera’ — The New York Times · Jan 26, 2023
• Justin Peck’s New Americana, Set to Copland’s Old — The New York Times · Jan 24, 2023
• Review: At the Philharmonic, a Conductor Argues With Passion — The New York Times · Jan 22, 2023
• Review: The Unaffected Excellence of the Cleveland Orchestra — The New York Times · Jan 19, 2023
• Review: A Guest Conductor Reveals the Philharmonic’s Potential — The New York Times · Jan 13, 2023
• Prototype, an Essential New York Opera Festival, Turns 10 — The New York Times · Jan 04, 2023
• Boston Symphony Leader Leaves Less Than Two Years Into Her Tenure — The New York Times · Dec 16, 2022
• Yo-Yo Ma Is Finding His Way Back to Nature Through Music — The New York Times · Dec 15, 2022
• Review: The Rising Star of Conducting Arrives in New York — The New York Times · Dec 11, 2022
• What It’s Like to Perform at the Met With No Opera Experience — The New York Times · Dec 07, 2022
• At 26, the Conductor Klaus Mäkelä’s Star Keeps Rising and Rising — The New York Times · Dec 02, 2022
• ‘The Hours’ Becomes an Opera. Don’t Expect the Book or Film. — The New York Times · Nov 21, 2022
• In Life and Music, Ned Rorem Was Unwaveringly Himself — The New York Times · Nov 20, 2022
• A Tenor’s Met Opera Debut, Long Delayed, Is Worth the Wait — The New York Times · Nov 13, 2022
• Steve Reich, Busy as Ever, Enters His Late Period — The New York Times · Nov 02, 2022
• Review: A Conductor Takes a Victory Lap With Her Orchestra — The New York Times · Oct 23, 2022
• Review: A Tenor Claims His Place Among the Met Opera’s Stars — The New York Times · Oct 17, 2022
• A Lifelong Friendship’s Latest Chapter: A Concerto Premiere — The New York Times · Oct 12, 2022
• Review: Berlin Takes Wagner’s Approach to Staging the ‘Ring’ — The New York Times · Oct 10, 2022
• Review: The War in Ukraine Looms Over an Orchestra’s Debut — The New York Times · Oct 06, 2022
• The Met Opera Takes on ‘Medea’ in the Shadow of Maria Callas — The New York Times · Sep 25, 2022
• America’s Most Interesting Opera Destination? The Midwest. — The New York Times · Sep 20, 2022
• Review: An Oratorio Cautiously Looks Back on Women’s Suffrage — The New York Times · Sep 16, 2022
• ‘Three Divas, What Could Be Better?’ Making ‘The Hours’ Operatic — The New York Times · Sep 09, 2022
• Review: A Singer’s Immense Sound Engulfs a Recital Room — The New York Times · Sep 08, 2022
• Classical Music and Opera This Fall: 59 Programs, Premieres and More — The New York Times · Sep 08, 2022
• John Adams, an American Master at 75 — The New York Times · Aug 31, 2022
• Solange Enters New Territory: Ballet Composer — The New York Times · Aug 15, 2022
• The Classical Music Event of the Summer Is in Salzburg’s Shadow — The New York Times · Aug 01, 2022
• A Conductor Who Knows His Way Around a Score, and a Farm — The New York Times · Jul 29, 2022
• Review: Two Operas Conjure Apocalypses Personal and Cosmic — The New York Times · Jul 27, 2022
• Tobias Kratzer Is Leading Opera’s Next Generation of Directors — The New York Times · Jul 06, 2022
• Review: ‘The Mutes’ Gives Voice to Musical Outsiders — The New York Times · Jul 01, 2022
• Review: ‘The Devils of Loudun’ Offers No Escape From Horror — The New York Times · Jun 29, 2022
• Wagner’s Early Operas Shouldn’t Be Mere Curiosities — The New York Times · Jun 26, 2022
• After 10 Years, Barrie Kosky Leaves His Opera House Dancing — The New York Times · Jun 13, 2022
• Klaus Mäkelä, 26, Takes Podium at Storied Concertgebouw Orchestra — The New York Times · Jun 10, 2022
• What’s in Our Queue? ‘Three Months’ and More — The New York Times · Jun 09, 2022
• A Young Horn Player Could Become ‘a Real Legend’ — The New York Times · Jun 06, 2022
• Opera’s ‘Island of Misfit Toys’ Takes Its Biggest Stage Yet — The New York Times · Jun 03, 2022
• At the Spoleto Festival, Opera Is an Act of Liberation — The New York Times · May 30, 2022
• An Oliver Sacks Book Becomes an Opera, With Help From Friends — The New York Times · May 25, 2022
• Review: The Met’s ‘Akhnaten’ Takes a Post-Grammys Victory Lap — The New York Times · May 20, 2022
• Review: A Conductor Unearths Rarities. Will People Listen? — The New York Times · May 13, 2022
• Review: Igor Levit Arrives at the Philharmonic, at Last — The New York Times · May 08, 2022
• Review: Thomas Adès Charts a Journey Through Hell and Heaven — The New York Times · Apr 29, 2022
• Cosmic Stories: Du Yun Revisits Her Earliest Music Theater — The New York Times · Apr 27, 2022
• One Night, Several String Quartet Premieres — The New York Times · Apr 22, 2022
• Risking Boos, the Met Opera Puts Present-Day America Onstage — The New York Times · Apr 22, 2022
• Review: ‘Ten Thousand Birds’ Turns the Armory Into an Aviary — The New York Times · Apr 15, 2022
• Review: A ‘St. Matthew Passion’ Balances Grandeur and Calm — The New York Times · Apr 08, 2022
• Two Musicians of Color Are Creating Their Own Space — The New York Times · Apr 08, 2022
• Review: Two Sopranos Make an ‘Elektra’ Both Mythic and Human — The New York Times · Apr 03, 2022
• Review: Two Artists Arrive at the Philharmonic, Loudly — The New York Times · Apr 01, 2022
• Review: ‘Upload’ Asks Old Questions With New Technology — The New York Times · Mar 23, 2022
• Planned Before War, a Festival Embraces New Ukrainian Music — The New York Times · Mar 21, 2022
• Review: Gustavo Dudamel Wraps Up a Philharmonic Audition — The New York Times · Mar 18, 2022
• Review: A Recital Brings Together Two Schubert Masters — The New York Times · Mar 14, 2022
• Review: A Rescue Operation Salvages Leonard Bernstein’s Final Opera — The New York Times · Mar 10, 2022
• After a Punishing Sprint, Yannick Nézet-Séguin Can Celebrate — The New York Times · Mar 06, 2022
• Review: At the Philharmonic, a Conductor Is the Star — The New York Times · Mar 04, 2022
• Review: Upended by Global Conflict, the Vienna Philharmonic Plays On — The New York Times · Feb 27, 2022
• Review: The New York Philharmonic Brings Back the Standards — The New York Times · Feb 25, 2022
• Review: Two Years Later, a Beethoven Cycle Reaches Its Finale — The New York Times · Feb 22, 2022
• 50 Years Later, the Rothko Chapel Meets a New Musical Match — The New York Times · Feb 18, 2022
• Review: Beethoven Returns for the Age of Black Lives Matter — The New York Times · Feb 14, 2022
• Review: An Audition Season Begins at the Philharmonic — The New York Times · Feb 13, 2022
• A Shape-Shifting Opera Singer, With a Debut to Match — The New York Times · Feb 11, 2022
• John Williams in the Concert Hall: An Introduction — The New York Times · Feb 08, 2022
• A Conductor in Demand, and in Control — The New York Times · Feb 01, 2022
• Review: Opera Stars Take On an Omicron-Battered Vienna — The New York Times · Jan 27, 2022
• A Singer Brings His Authentic Self to the Philharmonic — The New York Times · Jan 26, 2022
• Teresa Reichlen to Retire From New York City Ballet — The New York Times · Jan 26, 2022
• Renée Fleming and Uma Thurman Share an Odyssey — The New York Times · Jan 21, 2022
• ‘Rigoletto’ at the Met Unites a Father and Daughter. Again. — The New York Times · Jan 06, 2022
• A Conductor Considers Her Future — The New York Times · Dec 31, 2021
• The Met Opera Spirits ‘Rigoletto’ to ‘Babylon Berlin’ — The New York Times · Dec 24, 2021
• Review: ‘Density’ Keeps Expanding the Flute’s Universe — The New York Times · Dec 13, 2021
• More Terence Blanchard Coming to Met Opera After Success of ‘Fire’ — The New York Times · Dec 07, 2021
• Genre-Blurring, Politically Charged Opera Wins Top Music Prize — The New York Times · Dec 06, 2021
• ‘I Savor Everything’: A Soprano’s Star Turn at the Met Opera — The New York Times · Nov 26, 2021
• The Emails Behind the Opera ‘Eurydice’ — The New York Times · Nov 22, 2021
• Review: An Orchestra Offers a Novel View of Music History — The New York Times · Nov 19, 2021
• What’s in Our Queue? ‘The Other Two’ and More — The New York Times · Nov 18, 2021
• Review: The Cellist Sheku Kanneh-Mason Makes an Entrance — The New York Times · Nov 12, 2021
• Review: ‘Porgy and Bess’ Returns to a New Opera Landscape — The New York Times · Nov 01, 2021
• A New Era Takes Shape at the World’s Opera Capital — The New York Times · Oct 28, 2021
• Ballet Theater Gives the Stage to This Pianist’s Drag Persona — The New York Times · Oct 26, 2021
• Review: An Espionage Opera Remains Enigmatic and Urgent — The New York Times · Oct 22, 2021
• Glimmerglass Festival Unveils Its Leader’s Final Season — The New York Times · Oct 15, 2021
• A Temporary Concert Hall Hopes for a Permanent Audience — The New York Times · Oct 12, 2021
• Review: In ‘Upload,’ Do Blockchains Dream of Electric Lizards? — The New York Times · Oct 03, 2021
• At 75, the Ojai Music Festival Stays Focused on the Future — The New York Times · Sep 20, 2021
• A Climate Opera Arrives in New York, With 21 Tons of Sand — The New York Times · Sep 14, 2021
• The Changing American Canon Sounds Like Jessie Montgomery — The New York Times · Sep 06, 2021
• When Opera Livestreams Became Live Performances — The New York Times · Sep 03, 2021
• A Soprano With a Bottomless Appetite for Risk — The New York Times · Aug 17, 2021
• Review: ‘The Threepenny Opera’ Returns Home, Liberated — The New York Times · Aug 15, 2021
• The Thorny History of the Salzburg Festival’s Logo — The New York Times · Aug 11, 2021
• An Opera Screams for Human Dignity — The New York Times · Aug 10, 2021
• Robert Carsen Is Opera’s Most Reliably Excellent Director — The New York Times · Aug 09, 2021
• Review: Marina Abramovic Summons Maria Callas in ‘7 Deaths’ — The New York Times · Jul 28, 2021
• Review: At Wagner’s Festival, a ‘Dutchman’ Never Sails — The New York Times · Jul 26, 2021