The Well-Tempered Ear
The New York Times names the top 25 classical recordings of 2020 and includes sample tracks
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By Jacob Stockinger
What did the holidays bring you?
Did Hanukkah, Christmas or Kwanzaa bring you a gift card?
A subscription to a streaming service?
Maybe some cash?
Or maybe you just want to hear some new music or new musicians or new interpretations of old classics?
Every year, the music critics of The New York Times list their top 25 recordings of the past year. Plus at the end of the story, the newspaper offers a sample track from each recording to give you even more guidance.
This year is no exception (below).
In fact, the listing might be even more welcome this year, given the coronavirus pandemic with the lack of live concerts and the isolation and self-quarantine that have ensued.
The Ear hasn’t heard all of the picks or even the majority of them. But the ones he has heard are indeed outstanding. (In the YouTube video at the bottom, you can hear a sample of the outstanding Rameau-Debussy recital by the acclaimed Icelandic pianist Vikingur Olafssen, who scored major successes with recent albums of Philip Glass and Johann Sebastian Bach.)
Here is a link: https://www.nytimes.com/2020/12/17/arts/music/best-classical-music.html
Of course not all critics agree.
The Ear has already listed the nominations for the Grammy Awards (a link is below), and more critics’ picks will be featured in coming days.
You should also notice that a recording of Ethel Smyth’s “The Prison” — featuring soprano Sarah Brailey (below), a graduate student at the UW-Madison’s Mead Witter School of Music and a co-founder of Just Bach — is on the Times’ list as well as on the list of Grammy nominations.
What new recordings – or even old recordings — would you recommend?
The Ear wants to hear.
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Classical music: Why does Pavarotti – the man and now the movie – fascinate us?
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By Jacob Stockinger
This weekend a lot of people nationwide will go see the movie “Pavarotti,” the documentary by Ron Howard about the legendary Italian tenor who died 12 years ago.
Luciano Pavarotti (below) was and remains a superstar, a major cultural phenomenon, which is why Decca Records is cashing in by releasing not only the soundtrack to the documentary film but also a new 3-CD compilation of Pavarotti’s best singing.
It’s all so curious, especially if you compare Pavarotti’s artistic accomplishments against those of, say, Placido Domingo.
Pavarotti couldn’t read music.
He couldn’t act very convincingly.
The roles he learned were relatively limited in number.
He made major personal and professional missteps.
Yet we remain deeply drawn to Pavarotti.
Why?
It certainly has to do with his extraordinary voice, the tone and power of which could make your neck hairs stand on end, give you goosebumps, bring tears to your eyes and make you sob out loud.
Just listen to his singing of Puccini’s “Nessun dorma,” the crowd-pleasing signature aria from “Turandot” that Pavarotti performed over and over again in concerts, operas and at the famous “Three Tenors” stadium concerts. (You can hear it in the YouTube video at the bottom.)
But there is more to Pavarotti as a cultural phenomenon, much more, that tells us about ourselves and about the appeal of opera in general.
Without question, the best cultural analysis of Luciano Pavarotti that The Ear has ever seen or heard came recently from the critic Zachary Woolfe in The New York Times.
As Woolfe deconstructs “this hulking, sweaty man with stringy hair, a patchy beard and an unforgettable sound,” you learn much about the popular appeal – both high and low — of opera as well as the commercial and artistic appeal of Pavarotti.
Here is a link to Woolfe’s “Critic’s Notebook” analysis, which is well worth reading on its own or either before or after you see the new film.
https://www.nytimes.com/2019/06/03/arts/music/pavarotti-ron-howard.html
And here is the official trailer for the film, with comments from many of his colleagues, which gets mixed reviews:
What do you think of Zachary Woolfe’s analysis of Pavarotti?
Why do you think the singer was so popular?
What is your favorite performance of his?
And if you saw the film, what did you think of it? Do you recommend seeing it?
Leave a comment.
The Ear wants to hear.
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Classical music: The Met’s new music director is openly gay – here is why that’s good. Saturday on Wisconsin Public Radio, he conducts Debussy’s “Pelléas et Mélisande” with local singer Kyle Ketelsen. Read a rave review
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By Jacob Stockinger
This Saturday, Jan. 19, starting at noon on Wisconsin Public Radio, you can hear the Metropolitan Opera’s acclaimed new production of Claude Debussy’s only opera “Pelléas et Mélisande” (below, in a photo by Ken Howard for the Met).
The orchestra will be led by the French-Canadian conductor Yannick Nézet-Séguin, who is the new music director of the Met and also received critical acclaim for his production of Verdi’s “La Traviata” earlier this season.
The production also stars local bass-baritone Kyle Ketelsen – who lives in the Madison suburb of Sun Prairie – in a major male role.
Here are two stories that pertain to the production that might interest local readers.
One is a rave review by The New York Times’ senior critic Anthony Tommasini, who singles out Ketelsen (below) for praise. Ketelsen last sang here in December during the Madison Symphony Orchestra’s Christmas program. Here is a link:
https://www.nytimes.com/2019/01/16/arts/music/review-pelleas-et-melisande-met-opera.html
Another interesting angle to this Saturday’s production is that Nézet-Séguin is openly gay and agreed to a joint interview with his longtime partner and fellow musician Pierre Tourville (below left and right, respectively, in a photo by Jeenah Moon for the Times) at a famous gay bar in Manhattan.
It is interesting in Zachary Woolfe’s story to see why the two men see the issue of sexuality as socially and artistically relevant.
Here is a link:
https://www.nytimes.com/2019/01/15/arts/music/yannick-nezet-seguin-met-opera-gay.html
Finally, here is YouTube video of a preview of the production, given by Nézet-Séguin:
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Classical music: Gift guide or gift or both? Critics for The New York Times name their top classical recordings of 2018, and so does National Public Radio (NPR)
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By Jacob Stockinger
Today is “Panic Saturday” — another, newer theme day on the commerce-driven Holiday Consumer Calendar that goes along with Black Friday, Small Business Saturday, Cyber-Monday and Giving Tuesday.
In past years, by this time many media outlets would publish the list of the top classical recordings of the past year. And The Ear has offered them as holiday shopping guides with links to the lists.
They seem to be running late this year, probably too late for many shoppers.
But recently the team of critics for The New York Times named their Top 25 classical recordings of 2018 that run from the 15th century to today (sample album covers are below).
This time, the website didn’t just reproduce something that first appeared in the printed edition. And something more than small snippets or excerpts are offered.
This time, the newspaper took full advantage of the electronic possibility of the web and used streaming to add hours of sound samples — some as long as 40 minutes – so you can see what you think of the recordings before you buy them. (Be sure to look at reader reactions and comments.)
It is a new and innovative way to do a Top 25 list – very appealing or entertaining as well as informative. Even if you don’t use it to buy anything for others or yourself, it can provide many minutes of listening pleasure. You can think of it as a gift guide or a gift or both.
Of course, there are also the usual short and very readable, to-the-point narratives or explanations about why the recording stands out and what makes it great music, a great performance or a great interpretation.
So there is a lot to listen to and help you make up your mind. The Ear has enjoyed it and found it helpful, and hopes you do too, whether you agree or disagree with the choice:
Here is a link:
https://www.nytimes.com/2018/12/13/arts/music/best-classical-music-tracks-2018.html
Since this is the last weekend for holiday shopping before Christmas, here is the previous list – notice the duplications in the two lists — posted here, which was of the nominations for the upcoming 2019 Grammy Awards:
And here is the Top 10 list, which was chosen by the always discerning Tom Huizenga (below) — who explains the reasons for his choices — and which also offers generous sound samples, from National Public Radio (NPR) and its Deceptive Cadence blog. Also look for duplications:
https://www.npr.org/2018/12/18/677776208/npr-musics-best-classical-albums-of-2018
What recordings would you suggest?
The Ear wants to hear.
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Classical music: Yannick Nézet-Séguin answers his critics who question why the wait and what is his vision
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By Jacob Stockinger
One week ago, Yannick Nézet-Séguin (below) was named the new music director of the Metropolitan Opera.
He will start full-time in 2020.
Here is a link to the post with the announcement in Opera News:
But some critics were quick to question the choice and to wonder why he is waiting so long to officially start his new post. (He will also remain as head of the Philadelphia Orchestra until 2026.)
Chief among them were two critics for The New York Times: Zachary Woolfe and Anthony Tommasini.
Here are posts with their opinion pieces, first the one by Woolfe and then the one by Tommasini:
But the young conductor (below in a photo by Getty Images) proved he can ably respond, which he did in an interview with the Deceptive Cadence blog by NPR or National Public Radio.
Here he is, answering his critics and explaining the time lag as well has his plans and his vision of the future at the Met:
The Ear finds him convincing and thinks he wins when it comes to arguing with his critics.
What do you think?
The Ear wants to hear.
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Classical music: Should Yannick Nézet-Séguin be the Metropolitan Opera’s next music director? Here are the pros and cons
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By Jacob Stockinger
As you may have already heard, the legendary James Levine just retired as the music director of the famed Metropolitan Opera in New York City.
So now the question becomes: Who should succeed Levine?
Several names stand out.
But the smartest money seems to be on the relatively young conductor Yannick Nézet-Séguin (below). The French-Canadian and openly gay conductor now leads the Philadelphia Orchestra and is closely attached to the Rotterdam Philharmonic in the Netherlands.
A comprehensive profile of the charismatic and energetic conductor – who is known for his unique, subtle and powerful interpretations – with the pros and cons of an appointment to The Met was recently written by New York Times music critic Zachary Woolfe.
Woolfe raves about his conducting but then goes on to raise several important points about the difference between being a conductor and a music director. (You can hear a lot of recorded performances of his conducting on YouTube. At bottom is the beginning of an insightful two-part interview with Nézet-Séguin.)
The Ear found the criticism relevant, if a little lopsided, and was impressed overall with the story.
So read it for yourself and decide:
http://www.nytimes.com/2016/05/15/arts/music/for-yannick-nezet-seguin-questions-of-vision.html?_r=0
Then leave word in the COMMENTS section and let The Ear and his readers know whether you think Nézet-Séguin should be the next music director of The Met?
Or would you suggest another name?
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Classical music: Amazon’s “Mozart in the Jungle” wins two Golden Globe awards. But Season 2 — which is now available for streaming and features real-life famous longhairs — gets a mixed review from The New York Times
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By Jacob Stockinger
“Sex, drugs and classical music”?
It was easy to underestimate the Amazon comedy sitcom “Mozart in the Jungle” as just a commercial low-brow, rock and roll take on the high-brow world of classical music.
Until two weeks ago.
That when the TV comedy series, which portrays the trials and tribulations of being a classical musician in today’s pop-oriented culture, won two Golden Globe awards.
One award went to the accomplished Mexican actor, director and producer Gabriel Garcia Bernal (below) for the Best Actor in a TV Series, Comedy or Musical. He plays Rodrigo, an orchestra conductor.
The second award went to the show as Best TV Series for Comedy or Musical.
Will any Emmys follow?
The second season has been ready for streaming since Dec. 30. And winning the two Golden Globe awards is sure to spike viewer interest. (You can see the trailer for Season 2 in a YouTube video at the bottom.)
Although there are some fine things to admire in Season 2, apparently it loses steam and gets repetitive.
At least that is the assessment of music critic Zachary Woolfe, who writes for The New York Times.
One interesting sidelight of Season 2 is that several big-name classical musicians make a cameo appearance on the show.
They include the conductor Gustavo Dudamel, the phenom music director of the Los Angeles Philharmonic:
The flamboyant Chinese superstar pianist Lang-Lang:
And mainstream American piano star Emanuel Ax, who will perform with the Madison Symphony Orchestra in March. (NOTE: Ax was to play the Symphonic Variations by Cesar Franck and the Burleske by Richard Strauss. That program has now been changed to the Piano Concerto No. 4 by Ludwig van Beethoven.)
To The Ear, the show still sounds like fun – if you can get past or overlook the endless sense of crisis.
Which, curiously, also just happens to be how one might feel about the real-life, non-fiction world of classical music these days with its focus on declining attendance, fewer recordings, labor strife and programming.
Here is a link to the review:
Tell us in the COMMENT section what you think of either the first season or the second season, if you have already started to watch it.
The Ear wants to hear.
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Classical music: This Saturday brings Alban Berg’s “Lulu,” one of the most unusual and noteworthy offerings of the “Live From the Met in HD” series of operas shown in cinemas this season.
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By Jacob Stockinger
This Saturday, “Live From the Met in HD” features Alban Berg’s opera “Lulu,” a difficult landmark work know for both its 12-tone music and its plot of social commentary, all marked by the violent and decadent German Expressionist sensibility.
The opera will be shown at the Marcus Corporation‘s Point Cinemas on Madison far west side and — now that the Eastgate Cinemas have closed — at the Marcus Palace Cinema in Sun Prairie, a bit past Madison’s far east side.
The production by the Metropolitan Opera in New York City starts at 11:30 a.m. and has a running time, with two intermissions, of 4-1/2 hours. (Below, in a photo by Sara Krulwich of The New York Times, is Marlis Petersen, who is known for the role of Lulu — but who says she will retire the role after this production — and Donald Brenna as a smitten man. Susan Graham, not shown, also stars.)
Tickets are $28 for adults; $22 for seniors; and $18 for young people.
Here is a synopsis and notes about the cast:
http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Lulu/
And here is a link to more about the cast and production with video samples:
http://www.metopera.org/Season/2015-16-Season/lulu-berg-tickets/
The Ear thought some other things might be useful and might whet your appetite to see this unusual production.
Here is a fascinating background piece by Zachary Woolfe of The New York Times, who interviewed several sources involved with the production and are knowledgeable about the opera (below is a photo of the German Expressionist set, taken by Sara Krulwich for The New York Times):
http://www.nytimes.com/2015/11/01/arts/music/in-lulu-the-question-that-stops-an-opera.html
And if you are undecided or wavering about going to the acclaimed production, directed by William Kentridge, here is a rave review by senior music critic Anthony Tommasini of The New York Times:
http://www.nytimes.com/2015/11/07/arts/music/metropolitan-opera-lulu-review.html?ref=topics
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Classical music: The top classical recordings of 2013 are finally named by the critics for The New York Times. Does the list come too late to serve as a holiday gift-giving guide?
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By Jacob Stockinger
Well, The Ear thinks it was a little late in coming –- especially since there are few local traditional brick-and-mortar record stories still in business and since buying on-line requires time for delivery.
But at the end of last week, the critics of The New York Times finally published their collective picks of the best classical recordings of the past year. (A sample of 20 is below in a photo by Tony Cenicola for the Times.)
It is a list I particularly trust since the critics of The New York Times -– Anthony Tommasini, James Oestreich, Vivien Schweitzer, Zachary Woolfe and Corinna da Fonseca-Wollheim –- are among the best, the most discerning, experienced and reliable critics in the business. (At the bottom is a promotional video from Decca and posted on YouTube for one of the choices I especially agree with: violinist Leonidas Kavakos playing the complete violin sonatas of Ludwig van Beethoven.)
Now, a cynic might think that an earlier publication about bigger and more expensive box sets (below), with dozens of CDs, came first because those sets are quite expensive and were probably provided free of cost or at a steep discount to reviewers. So perhaps the reviewers felt a duty to get that story into print over the pick of cheaper single and maybe double CDs -– kind of like the way legislators respond to lobbyists.
But maybe not. Maybe it is all just coincidence.
Anyway, here is a link to my blog posting about the box sets story, to which a link is also provided and which appeared the day after Thanksgiving:
http://www.nytimes.com/2013/11/17/arts/music/classical-music-boxed-sets-multiply.html?_r=1&
And one can be disappointed a bit that there isn’t more in the way of suggestions about DVDs and books that related to classical music.
But be all that as it may, the list has been at last been published. And I find that agree whole-heartedly with many of the choices. And if it proves to late to be a good guide for giving, perhaps it is a good guide for how to spend those gifts cards you might get as gifts.
Here is a link to the Best Recordings of 2013 story:
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The Well-Tempered Ear 
New York Times critics choose 10 online classical music concerts to stream in February, starting this Thursday
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By Jacob Stockinger
As they have done for previous months during the coronavirus pandemic, the classical music critics for The New York Times have named their top 10 choices of online concerts to stream in February, which is also Black History Month, starting this Thursday, Feb. 4.
Also predictably, they focus on new music – including a world premiere — new conductors and new composers, although “new” doesn’t necessarily mean young in this context.
For example, the conductor Fabio Luisi (below) is well known to fans of Richard Wagner and the Metropolitan Opera. But he is new to the degree that just last season he became the new conductor of Dallas Symphony Orchestra and its digital concert series.
Similarly, the Finnish composer Magnus Lindberg (below top, in a photo by Saara Vuorjoki) and the American composer Caroline Shaw (below bottom, in a photo by Kait Moreno), who has won a Pulitzer Prize, have both developed reputations for reliable originality.
But chances are good that you have not yet heard of the young avant-garde cellist Mariel Roberts (below top) or the conductor Jonathon Heyward (below bottom).
Nor, The Ear suspects, have you probably heard the names and music of composers Angélica Negrón (below top), who uses found sounds and Tyshawn Sorey (below bottom). (You can sample Negrón’s unusual music in the YouTube video at the bottom.)
Of course, you will also find offerings by well-known figures such as the Berlin Philharmonic and its Kurt Weill festival; conductor Alan Gilbert; pianists Daniil Trifonov and Steven Osborne; violinist Leonidas Kavakos; and the JACK Quartet.
Tried-and-true composers are also featured, including music by Beethoven, Schnittke, Weber, Ravel and Prokofiev. But where are Bach, Vivaldi, Telemann and Handel? No one seems to like Baroque music.
Here is a link to the events with links and descriptions. All times are Eastern: https://www.nytimes.com/2021/01/28/arts/music/classical-music-streaming.html
Do you have other virtual and online concerts to suggest? Please leave details in the Comment sections.
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