Tom Huizenga

Although it closed 60 years ago, Black Mountain College keeps on giving. In its heyday, the liberal arts institution near Asheville, N.C., counted many of the mid-century's great artistic thinkers, including John Cage, Willem de Kooning, Cy Twombly, Buckminster Fuller, Francine du Plessy Gray and Robert Rauschenberg, among its faculty and students.

Piotr Anderszewski might be one of the most revered pianists of his generation, but he's also one of the most impulsive.

In 1990, at age 21, the young Pole entered the prestigious Leeds International Piano Competition. He was nearly finished with his semi-final performance when he quit playing — just walked off the stage. He felt he wasn't good enough to continue. It was a gutsy move that actually helped launch his career.

Symphony orchestras and opera companies across the country continually ask the same question: How do we attract a younger and more diverse audience?

Saturday night, I discovered something of an answer at the Washington National Opera's east coast premiere of Champion, a four-year-old opera by jazz trumpeter and composer Terence Blanchard.

In 21 seasons of attending WNO performances, I've never witnessed a more diverse crowd.

"I feel your pain." The phrase might still be linked to Bill Clinton's 1992 presidential campaign, but it's also an apt descriptor for a new project by The Crossing, the adventuresome Philadelphia-based choir, based on some very old music.

For nearly five decades, Daniel Barenboim has been making a case for the symphonies of Anton Bruckner. Tonight at Carnegie Hall, the conductor begins a complete cycle of Bruckner's nine numbered symphonies, leading the storied Staatskapelle Berlin.

Georges Prêtre, the French conductor with a seven-decade career that included close associations with Maria Callas and many of the world's top orchestras, died Wednesday in France at age 92.

In the last week of 2016, Songs We Love is featuring just a few of the songs that, for whatever reason, never got their due this year.

The clarinet and guitar are common enough instruments, but you've probably never heard them sound quite like this. In the hands of guitarist Golfam Khayam and clarinetist Mona Matbou Riahi, the instruments breathe together in music that borrows melody and improvisation from their Iranian homeland and classical structures from the West.

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