British composer Anna Clyne shares how art, dance, and film inspire her work and discusses recent collaborations with the Orchestra of St. Luke's and London's Royal Ballet.

Composer Steven Mackey discusses his new album of orchestral works, Beautiful Passing, and how personal experiences with death and memory have inspired his music.

Harpist Emily Levin discusses the GroundWork(s) premiere of Angélica Negrón's Ave del paraíso in San Juan, Puerto Rico, and how the concert forged new connections between Negrón and her hometown.

Composer Volker Bertelmann discusses his Oscar-winning score for All Quiet on the Western Front and shares insights into the art, dance, and architecture that inspire his music.

On his new album Klangland, Henrik Lindstrand delivers an achingly beautiful set of miniature mood pieces that capture vast landscapes of emotion. Out now on One Little Independent Records.

Few careers in classical music read as illustriously as that of pianist Wu Han. For more than 50 years, her life has centered around the concert stage, delivering performances of the highest caliber in nearly every corner of the globe.

For violinist Hilary Hahn, finding success as an international soloist has never been about sticking to the same menu of concertos by Beethoven, Mendelssohn, and Sibelius. Now in the fourth decade of her storied career, the three-time Grammy Award winner has consistently worked to expand the scope of the violin canon — commissioning a slate of new works from composers like Edgar Meyer, Jennifer Higdon, and Lera Auerbach.

In June 2021, James Gaffigan was appointed as Music Director of Palau de les Arts Reina Sofía in Valencia, Spain, for four seasons. Less than a year later, in February 2022, it was announced that beginning in the 2023/24 season, the in-demand conductor would serve as Music Director of the Komische Open Berlin in Germany for four years until the summer of 2027.

Ahead of an alfresco evening of Mozart at the Hollywood Bowl, conductor Nicholas McGegan and Los Angeles Philharmonic concertmaster Martin Chalifour discuss the joy of performing Mozart and how today's listeners can find meaning in the composer's music.

There’s music on the page, where it’s preserved for later use, and then there’s music when it’s played, traveling through the air. On each end of that is a body, musician reaching out to listener and touching them via sound. For Augusta Read Thomas too, that’s where the music starts, in the body. Her method of composing—creating new material, shaping it and building it into larger structures and forms—is grounded in the physical sensations of music, especially singing and movement. Sounds from the body become elements in a larger mosaic. That is the subtle, but fundamental connection between her artistry and the subject of her new piece, MAGIC GARDENS, which the Rolston String Quartet will play in its American premiere May 1, at a concert celebrating the bicentennial of the Musical Fund Society of Philadelphia.

JoAnn Falletta, the internationally acclaimed musical conductor, director, and ambassador, serves as the Music Director of the Buffalo Philharmonic Orchestra and Music Director Laureate of the Virginia Symphony Orchestra. A prolific recording artist for Naxos Records, she has led over 120 titles and received four GRAMMY Awards. Renowned as a “demonstrative, kinetic conductor” (The New York Times), Falletta has conducted over 100 orchestras across the world.

The name Jessie Montgomery is becoming more and more familiar to classical music lovers. The 40-year-old is making her mark as a composer with a unique voice. Her music reflects her own life as an African American woman, but also draws on various other cultures and influences, including Zimbabwean dance, swing and techno.

Iceland calls itself “The Land of Fire and Ice.” It’s an apt description. Although Iceland’s landscapes can be barren and austere, they’re also percolating with innumerable geothermal sites that continuously spew plumes of steam into the frosty air. And don’t forget the volcanoes with their glowing lava flows. Known for its natural beauty, Iceland is not as well known for its classical musicians. That is until now. Icelandic pianist Víkingur Ólafsson has captivated the classical wold with his cerebral and sensitive performances. Ólafsson’s burgeoning Deutsche Grammophon discography ranges from the cool minimalism of Philip Glass to the intricacies of Bach and the Gallic elegance of Debussy and Rameau. His exquisitely chosen repertoire is evidence of a highly selective and creative artist.

Isabel Leonard is a heralded regular at The Metropolitan Opera, one of the most in-demand opera singers with a string of accolades and awards. Here’s how she prepares for her leading roles at the world’s great opera houses.

We all remember the royal wedding of Prince Harry to the American actress, Meghan Markle, in 2018. I remember getting up early to watch it streamed live as I know many Americans did. Serendipitously, a classical cellist performed in the ceremony that day to a global audience of 2 billion people, in St. George's Chapel at Windsor Castle. He now makes his New York Philharmonic debut and releases a new album called Muse on Decca Classics.

Cellist and composer Peter Gregson joins us on the Classical Post Podcast, whose music you've most likely heard on Netflix's crazy-popular Bridgerton, and HBO's The New Pope starring Jude Law and John Malkovich. His output even reaches the heights of haute couture in campaigns for Balenciaga, Burberry, and Dior. He’s just released a new album on the Deutsche Grammophon label called Patina.

Michelle Cann’s journey from Florida to the faculty of the Curtis Institute of Music is a remarkable story of perseverance and incredible talent. Cann was born into a family that nurtured her musical aspirations, but, as a person of color, finding her way in the overwhelmingly white world of classical music presented special challenges.

A musician can make the world a better place just by playing the standard repertoire beautifully. But pianist Lara Downes goes farther. By introducing audiences to diverse composers who have been overlooked and disenfranchised, she not only gives ravishing performances of beautiful music, but widens artistic horizons and enriches our cultural life.

The COVID-19 pandemic perhaps all but demands an artistic response. A commission from the Oregon Bach Festival, Richard Danielpour’s An American Mosaic provides just that in an expansive piano work written for Simone Dinnerstein that at its core reflects upon the various segments of American society united by the shared experience of the pandemic.

Fascinating composer Sarah Kirkland Snider recently released her Mass for the Endangered as a type of call for action or consciousness about the environmental crisis the world faces. In a very special interview, pianist and scholar Natalia Kazaryan chats with Ms. Snider to gain greater clarity on this new recording and her life as a highly-respected female composer.