June 25, 2018 / 10:06 AM
June 25, 2018 / 10:06 AM
Music Times > The New Yorker
The organ's sonic capacity to blow out your eardrums is uncanny. Quite possibly the loudest sound on the planet, the Disney organ — affectionately named "Hurricane Mama" by Terry Riley — is of the echelon. So like Cameron Carpenter's most ...
Jazz music to jazz fans oft seems irreproachable, especially in the context of the most recent Sonny Rollins article by Django Gold in The New Yorker. The article, "Sonny Rollins: In His Own Words" wasn't side-splittingly funny, just a mild stab at ...
At times, the only thing I find more physically demanding and emotionally exhausting than pursuing a career as a musician has been that of a writer about music. What isn't met with indiscernible apathy and neglect is usually, and very outwardly, ...
It seems that the New Yorker has some strong opinions about the current status of orchestral works in popular culture (i.e. the latest Apple iPad commercial). "Not surprising, given Apple's distinguished history of television propaganda," writes Alex ...
This past weekend, Austrian drag queen Conchita Wurst (née Tom Neuwirth) won Eurovision's 2014 iteration. And now Vlad Putin's favored soprano, Anna Netrebko, has apparently lent her virality to Wurst's LGBQTA cause.
This week in the New Yorker, John Lahr profiles Susan Stroman. This time, for an adaptation of Bullets Over Broadway. Sadly, Veazey died form complications after contracting the AIDS virus at the age of 33.
So, in an effort to keep all you Classicalites abreast of each and every situation, we'll be trawling the web for the best headlines--those stories, those people making the biggest waves.
