Feldman, born a century ago this year, wrote quietly sensual and humanist works in an age of structural rigor.
Olga Neuwirth’s new opera, “Monster’s Paradise,” leans into the absurd to examine the phenomenon of the strongman leader (with added zombies).
Luciano Berio, who would have turned 100 this year, anticipated an overwhelming media culture in his classic “Sinfonia.”
The composer, who turns 90 this fall, has expanded the spectrum of sounds that instruments produce and that audiences can perceive.
Critic’s Notebook: Unlike most countries, Germany has a network of minor but generously subsidized theaters whose vitality is remarkable, and unmatched.
This genre allows artists to tap into their inner child. But it’s absolutely serious work.
Critic’s Notebook: Banished from his ensembles after striking a singer, John Eliot Gardiner has assembled a new group, with the same programming at the same venue.
Klaus Florian Vogt, a Wagner specialist with an ethereal yet mighty sound, is returning to the Bayreuth Festival to sing in the “Ring.”