To feel the expression of ‘Mache dich’ is to be compelled to reflect—to think in time, and to listen in time. Bach creates patterns of expectation, weaving them together, and generating further shapes.

Stephane Crayton on "St Matthew’s Passion"

‘Tongue-in-cheek’ as it may be, but it conveys a Christian soteriology: through Christ’s sacrifice, death does not have the last word; and that mercy and love should extend to all.

Victoria Costa on Sir James MacMillan’s ‘St John Passion’

Through Peter’s silence hope is granted access to his despairing heart. Through silence ‘La Pasión’ is granted access to the audience, transforming the hearts that listen.

Victoria Costa on Golijov’s musical presentation of Peter’s betrayal.

Informed by Pärt’s own spirituality, ‘Passio’ participates in a wider musical exploration of Peter as emblematic of a fallenness redeemed and restored in relationship with God.

Victoria Costa on Arvo Pärt and Peter’s denial of Christ

Our life is fuller and lovelier for variety. At one moment we might need Lizzo, at another Liszt, but ultimately both, or their like, should find their ways into our lives and into our playlists.

Jacob Martin on Richard Straus’s opera and diverse cultural experiences

Haydn condenses whole universes into his symphonies. Emphasizing his folkishness at the expense of his elegance, his grace over his passion, his control over his weirdness is a disservice to the world.

Jacob Martin on Haydn and renewing orchestral music

Lexi Eikelboom argues, in a new way, that theology always begins from these most ordinary places, driving us deeper into such moments instead of out and away from them.

Lyle Enright explores the impact of taking rhythm seriously

Toeing the line between sincere homage and raucous parody, The Rake’s Progress is a complex opera, one that evinces sincere ambivalence toward its source material, but above all, delight.

Jacob Martin reviews a transhistorical operatic masterpiece

By observing the patterns in history and finding the hidden unity behind them, we can formulate ideals and new futures based on a better understanding of what humanity is.

Henriikka Hannula develops Dilthey’s philosophy for life.

The term ‘folk opera’ draws attention to Hadestown’s connection with other Orphean music dramas, placing it in a genealogy with earlier operas that take the myth of Orpheus as their subject.

Jacob Martin follows Orpheus’s song through the ages

Coronavirus limitations actually present American orchestras with an excellent opportunity to explore music that American audiences rarely hear and to experiment with both old and new ways to perform classical music.

Jacob Martin looks for new paths for orchestral music.

Timothy Barr reflects on popular culture the way stars still influence us—whether Taylor Swift or Sirius.

Timothy Barr muses on the music of Björk