Alex Ross, The New Yorker

Alex Ross

The New Yorker

Mountain View, CA, United States

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Past articles by Alex:

The Love Song of Frida Kahlo and Diego Rivera

San Francisco Opera hosts the première of a haunting new work by Gabriela Lena Frank. → Read More

The Sonic Signatures of Salvatore Sciarrino and Kaija Saariaho

The music of these painterly modern composers is as distinct as Schubert’s or Debussy’s. → Read More

Gustavo Dudamel’s Mahler Misfire

At the New York Philharmonic, the celebrity conductor gave a curiously inert reading of the Ninth Symphony. → Read More

Yo-Yo Ma Goes Underground with the Louisville Orchestra

Teddy Abrams, the ensemble’s music director, has created a work about Mammoth Cave—and staged the piece inside its reverberating walls. → Read More

The Doleful Minimalism of Max Richter

The composer is everywhere on film and television soundtracks, promising that we will dissolve in mist before the apocalypse arrives. An assessment by Alex Ross. → Read More

Requiem for a Great Cat

Alex Ross on P-22, a mountain lion who lived in Los Angeles’s Griffith Park, his death by euthanasia in 2022, and the L.A. Philharmonic’s musical tribute to him. → Read More

Medieval Romances by Kate Soper and Richard Wagner

Alex Ross reviews “The Romance of the Rose,” at Long Beach Opera, and Wagner’s “Lohengrin,” at the Met, which both dwell on ancient mysteries of love. → Read More

The Gustavo Dudamel Show Goes East

Alex Ross writes that the conductor Gustavo Dudamel’s move to the New York Philharmonic is less of a loss for the Los Angeles Philharmonic than it appears. → Read More

Loud Noises on the Western Front

A new adaptation of “All Quiet on the Western Front” dilutes the power of Erich Maria Remarque’s antiwar novel. → Read More

The Ageless Exuberance of Michael Tilson Thomas

In the face of serious illness, the conductor led two memorable programs at the L.A. Phil. → Read More

Looking Past the Celebrity Conductor

Hype is buoying the young phenomenon Klaus Mäkelä, but Xian Zhang, at the New Jersey Symphony, shows a better way forward for the art, Alex Ross writes. → Read More

Notable Performances and Recordings of 2022

The daring South Dakota Symphony, Germany’s excellent small opera houses, Davóne Tines’s soaring performance in “X,” and other highlights of the year in music. → Read More

Counting Down “The Hours” at the Met

Kevin Puts’s new opera, inspired by Michael Cunningham’s novel, is finely crafted but lacks an original voice. → Read More

The Symphonic Testament of Erich Wolfgang Korngold

Alex Ross writes about Erich Wolfgang Korngold, a composer who worked on Hollywood film scores and made underappreciated contributions to classical music. → Read More

Kristian Bezuidenhout Unleashes the Subtle Power of the Fortepiano

On a modern piano, performers have to play Mozart with restraint, but on an earlier instrument they can push to extremes. → Read More

A History of the Modernist Villain’s Lair

“Don’t Worry Darling” is the latest in a long line of films that use modern architecture as a backdrop for evil. → Read More

Is the New York Philharmonic’s Swanky New Space Falling Short?

The renovated David Geffen Hall looks better, but the acoustics leave a mixed impression. → Read More

The Bel-Canto Brilliance of Lawrence Brownlee

Alex Ross on the singer Lawrence Brownlee’s performance in Rossini’s “Otello,” at Opera Philadelphia, which Ross writes was a tour de force of tenor genius. → Read More

The Ghostly Songs of Othmar Schoeck

Alex Ross writes about the Swiss composer Othmar Schoeck, whose song cycle “Elegie” performed by Christian Gerhaher was recently released by the Sony Classical label. → Read More

John Adams Captures the Music of Shakespeare

The composer’s new opera, “Antony and Cleopatra,” displays his mastery at setting the complex rhythms of the English language. → Read More