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Also: “El Conde,” Step Afrika!, and “Justified: City Primeval.” → Read More
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
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
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
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
A new adaptation of “All Quiet on the Western Front” dilutes the power of Erich Maria Remarque’s antiwar novel. → Read More
In the face of serious illness, the conductor led two memorable programs at the L.A. Phil. → Read More
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
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
Kevin Puts’s new opera, inspired by Michael Cunningham’s novel, is finely crafted but lacks an original voice. → Read More
Alex Ross writes about Erich Wolfgang Korngold, a composer who worked on Hollywood film scores and made underappreciated contributions to classical music. → Read More
On a modern piano, performers have to play Mozart with restraint, but on an earlier instrument they can push to extremes. → Read More
“Don’t Worry Darling” is the latest in a long line of films that use modern architecture as a backdrop for evil. → Read More
The renovated David Geffen Hall looks better, but the acoustics leave a mixed impression. → Read More
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
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
The composer’s new opera, “Antony and Cleopatra,” displays his mastery at setting the complex rhythms of the English language. → Read More
The Bard Music Festival examines whether the arch-romantic composer was more modern than he seems. → Read More
The most formidable modern writer on music seamlessly mixed the literary and the conversational, the meticulous and the evocative. → Read More
Alex Ross writes about the centenary of Rudolph Schindler’s West Hollywood house, considered by some to be the first modern house in the world, and how the architect’s delightful experiment in communal living is still an inspiration. → Read More