This week, Greek National Opera (GNO) in Athens is putting on the third performance of Nadia Boulanger’s only opera, La ville morte. Written in collaboration with her mentor, Raoul Pugno, the opera is only now in the 21st century, seeing

The orchestra is mighty, chords resonating in a large space, the timpani emphasizing the vastness of the concept. It’s a bit Wagnerian – some ideas seem like they might do well in Die Walküre or perhaps there’s a foreshadowing of

“I do not bow to anyone, except to my own conscience and our own noble Lady Music” January is a busy time for lovers of classical music as we celebrate the birthdays of Wolfgang Amadeus Mozart and Franz Schubert on

Something very exciting took place on 27 January 1866, the 110th anniversary of Wolfgang Amadeus Mozart’s birth. The city of Frankfurt witnessed the performance of an unknown Singspiel, which Mozart had abandoned to work on Idomeneo. The unknown work carried

Violet Gordon-Woodhouse changed how listeners approached and appreciated Baroque music. She helped spur the revival of the harpsichord and Baroque Era composers, making a big contribution to the beginnings of the historical performance practice movement, which is still going strong

In the caricatures of James Gillray (1756–1815) in the early years of the 19th century, the soprano Mrs. Billington figures large. James Gillray started working as an apprentice to a lettering engraver and in 1778, was admitted to the Royal

In 1899, Erik Satie (1866–1925) wrote a little pantomime ballet for piano entitled Jack in the Box to a scenario by the illustrator Jules Depaquit, an artist who was his very good friend and known for his love of hoaxes.

Classical music is often thought of as stuffy, insufferable, and boring. But is it? We’d argue that it’s not. The stereotypes fail to recognize the depth, beauty, and transportive power of classical music. We’re ready to debunk the myth that