NYT > Music
Herbert Blomstedt, who shows little signs of slowing down, discusses the secrets of pulling off a demanding schedule.
The soundtrack had the equivalent of 123,000 album sales in the United States, while Bruno Mars, Beyoncé and Adele saw a post-Grammy leap.
“The Classical Style,” its champions and inheritors, is the society’s 2017-18 theme, with works by Mozart and Beethoven, and a premiere by John Luther Adams.
Italy’s next gift to the music world may be a Milan group that helps adults overcome their vocal shortcomings and gain confidence in their singing.
He was an architect of hits by two pre-eminent 1970s funk outfits, the Ohio Players and Parliament-Funkadelic, and had a prolific career on his own.
Frank London has composed “Hatuey: Memory of Fire,” based on the life of a newspaper editor in Cuba. Opera de la Calle will perform it at Teatro Arenal.
Across the country, orchestras, theaters and operas reacted with alarm that public funding for the arts could be cut under President Trump.
Mr. Stubblefield was best known for a drum solo near the end of a 1969 Brown song he “didn’t like” that became the ubiquitous breakbeat of hip-hop’s sampling era.
Among them, Javier Camarena’s high D flat in “I Puritani” and Peter Gelb’s candid reflection on the “Tosca” he brought to the Met Opera in 2009.
A copyright dispute limited Bulgarian National Radio to broadcasting music recorded before 1946. The audience doesn’t seem to mind.
Hear the new songs that caught our pop critics' attention — for better and for worse — from Dawes, Linkin Park, Blac Youngsta, Thundercat and more.
Vittorio Grigolo, the tenor in this Massenet work, moves energetically through his instrument, and he was matched, effusion for effusion, in the orchestra pit.
Ms. Krauss brings her pop-inflected bluegrass sensibility to “Windy City,” a new album of lushly orchestrated country covers.
Sales and streaming bumps after the Super Bowl and Grammys show that screen time still matters in a business that’s been changing at lightning speed.
Mr. Stambler wrote “The Encyclopedia of Pop, Rock and Soul,” a tome that established a standard for its breadth, accuracy and readability.
Mr. Axelrod’s influence can be heard in the work of Lou Rawls, Cannonball Adderley, Lauryn Hill and many others.
The period band Juilliard415 and students from Juilliard’s vocal arts program presented a lively “Agrippina” at Alice Tully Hall.
Ms. Bareilles, who composed the music and wrote the lyrics to the hit show, will succeed Jessie Mueller in the lead role on March 31.
The band created one of indie rock’s most indelible sounds, built around the collaboration of David Longstreth and Amber Coffman. Now he’s reinventing their music without her.
The gold-encrusted dress Beyoncé wore when she performed at the Grammys was the first outfit to carry the Peter Dundas label.
This ascendant performer defies categorization at every turn, whether he’s talking trash or being a Marleyesque vocalist.
With his new album, “Ruler Rebel,” he is taking up a new challenge: uniting the spare, rippling power of trap music with a range of parallel inspirations.
The guitarist praised Adele’s style of singing and received the fury of Beyoncé’s loyal fans, known as the BeyHive.
The schedule includes a starry, new “Tosca”; a premiere of Thomas Adès’s “The Exterminating Angel”; and a Mozart work set in Coney Island.
The producer and songwriter, who is even more in demand after his wins, spoke on Tuesday, weighing in on the race debate and his do-over speech.
It was an awards show filled with flubs, tears, apologies and protests. The New York Times pop music writers discuss Adele, Beyoncé, Chance the Rapper and more on Popcast.
Philip Glass, Mark Morris, Laurie Anderson and others remember Harvey Lichtenstein, who revived the Brooklyn Academy of Music and died on Feb. 11.
For seven decades a beloved fixture of Manhattan night life, Ms. Carroll was a devotee of the American songbook who never forsook her jazz roots.