Podcast: Music
We conclude our special year-end roundtable with a look at the best songs of 2008, from Lil Wayne’s “A Milli” to Ne-Yo’s “Closer.”
The tottering New York City Opera has appointed the impresario and conductor George R. Steel as its leader.
In “Bach the Progressive” at Corpus Christi Church on Sunday, the harpsichordist Bradley Brookshire demonstrated how Bach updated traditional forms with contemporary touches.
In Fred Hersch’s music, which he plays as part of a quintet at the Village Vanguard this week, two elements are balanced pretty perfectly.
To watch the 96-year-old Tony Martin perform songs he recorded more than six decades ago is to witness how popular songs and memory can work together as a kind of Proustian madeleine.
The violinist Gil Shaham has assembled a group of friends, including family members, for a compact, three-concert survey of Brahms chamber works at Zankel Hall.
The usual buzz of happy expectation that attends the 92nd Street Y’s venerable Lyrics and Lyricists series was noticeably muted at this season’s opening concert.
Olli Mustonen’s concert in the Grace Rainey Rogers Auditorium at the Metropolitan Museum of Art on Sunday provided an opportunity to hear him in three modes.
In his recital at Town Hall on Sunday, the pianist Alon Goldstein seemed intent on finding and illuminating the Romanticism in music.
On the heels of its attention-grabbing trip to North Korea last February, the New York Philharmonic is planning another high-profile visit for next season: to Vietnam.
The opera has served up homemade productions for 60 years in basement theaters, always under the loving care of Anthony Amato.
Most of the performers at Globalfest, which featured 12 acts on three stages over five hours, were traditionalists of a slightly more faithful stripe.
Grazia Doronzio, an Italian soprano from the Lindemann Young Artist Development Program of the Met, sang two demanding works for voice and chamber ensemble by the Italian modernist Luigi Dallapiccola on Sunday.
Stephanie Blythe gave a vocally commanding and deeply poignant portrayal of Orfeo in the Metropolitan Opera’s “Orfeo ed Euridice.”
New releases from Rokia Traoré, Ravi Coltrane, Eliane Elias and Late of the Pier.
The Winter Jazzfest is a gluttonous feast: just under two dozen acts appeared in this year’s edition.
Combining works by Wagner and Schoenberg for a concert program, as the Ensemble ACJW did, makes sense.
The singer Eric Michael Gillett is the first to admit that he is 57 going on 17.
Had you been led blindfolded into the Grace Rainey Rogers Auditorium, you probably wouldn’t have guessed that a string quartet was performing.
After 60 years the Amato Opera will close its doors after this season.
As the new judge on “American Idol,” the feisty, heartfelt and outspoken Kara DioGuardi will have to get comfortable under the pop microscope.
To portray Biggie Smalls on film, Jamal Woolard had to lose himself.
A selection of what’s left from the pile of CDs from 2008 — some of which deserve a listen even after the deadlines have come and gone.
When this Samuel Barber opera inaugurated the new Metropolitan Opera House in 1966, it entered theatrical lore as one of the great operatic disasters of all time.
A playlist for living with cancer, from a music-obsessive being treated for the disease.
Mr. Hager performed with his brother Jim in the musical comedy duo the Hager Twins on the television series “Hee Haw.”
Mr. Jeter was the founder of the gospel group the Swan Silvertones and had a wide influence on both pop and religious singers in the 1950s and ’60s.
Mr. Earle played a good, long and fidgety set of songs going back 25 years, and sang duets with Ms. Moorer, his wife, at City Winery on Thursday.
The New York Philharmonic turned “Gondwana,” a substantial work by Tristan Murail, into something approachable at Avery Fisher Hall on Thursday.
The orchestra opened its 24th season on Thursday with strong performances from many of New York’s early-music regulars.
Mr. Zantzinger’s six-month sentence in the fatal caning of a black barmaid moved Bob Dylan to write a dramatic, almost journalistic song in 1963 that became a classic of modern American folk music.
Mr. Dupri was hired by Island in early 2007 to recruit artists and produce records for Island Def Jam, but has had little success at the company.
The architectural firm that will redesign a former firehouse to serve as the new home of the Brooklyn Philharmonic has unveiled its plans, the real estate Web site GlobeSt.com reported.
Mario Pavone’s gig at Iridium on Wednesday had two traditions running through it: the rhythmic and harmonic grids of bebop, and the cathartic tracing-in-air of free jazz.
Lady Antebellum’s blithe and sprightly show at Joe’s Pub included a performance of “All We’d Ever Need,” the most affecting track from the group’s self-titled debut album.
Steve Ross’s new show at the Algonquin Hotel is a tasty examination of Alan Jay Lerner, the lyricist for “My Fair Lady,” “Gigi” and “Camelot.”
Jack Terricloth is the driving force behind “Addicted to Bad Ideas: Peter Lorre’s 20th Century,” a self-described punk songspiel that is part of the Public Theater’s Under the Radar festival.
For Okkervil River, from Austin, Tex., self-awareness borders on an obsession.
“Morgan Sills Sings the Johnny Mercer Songbook” is a gossipy, superficial 30-song centennial anthology that plays through the end of January at the Metropolitan Room.
As the director of classical artists and repertory for Decca Records from 1958 to 1971, Mr. Horowitz produced many influential recordings.
Mr. Asheton was a guitarist of the Michigan proto-punk band the Stooges, and the guiding hand of some of the most simple, satisfying and copied riffs in rock ’n’ roll.
Barney Bubbles’s lusciously witty artwork for bands like Hawkwind and Elvis Costello and the Attractions has made him a hero to young designers.
Steve Knopper’s stark accounting of the mistakes major record labels have made in the digital era suggests they are largely responsible for their own demise.
Among the works on the Jupiter Symphony Chamber Players’s Monday program at Good Shepherd Presbyterian Church were unusual glimpses of Glinka and Puccini.
The bassist Christian McBride kicked off “Conversations With Christian,” a yearlong series of onstage dialogues, with words and music, at Dizzy’s Club Coca-Cola on Monday.
Apple said it would begin selling song downloads without anticopying measures and change its pricing structure.
Ms. Freeman was one of the most influential patrons of contemporary composers over the last 40 years and long the keeper of a famously gracious musical salon in Los Angeles.
Yefim Bronfman’s chamber music concert with musicians from the New York Philharmonic seemed to owe something to Carnegie Hall’s Perspectives program.
The Cuban saxophonist, clarinetist and composer Paquito D’Rivera performed a first-time run of shows with his new band.
New releases from Glasvegas, Scarface, Erin McCarley and the Joe Morris Bass Quartet.
The pianist Nadia Reisenberg is a good example of dedicated artists with lower profiles who influence classical music from within and enjoy productive and important careers.
There was not much magic in the New York Philharmonic’s performance of the “Brandenburg” Concerto No. 2.
We conclude our special year-end roundtable with a look at the best songs of 2008, from Lil Wayne’s “A Milli” to Ne-Yo’s “Closer.”
Photos from the Metropolitan Opera’s revival of the Mark Morris production.
A sound collage featuring a sampling of the musicians who died this year.
A do-it-yourself music promoter takes his show on the road, fueled by little more than vegetable oil and his own enthusiasm.
Times critics and reporters covered the week-long music festival in New York City.
Andrew Kuo compares Kanye West’s “RoboCop” to relationship-gone-wrong classics.
Andrew Kuo rates each and every one of the 25 bands he saw in five days.
The artist Andrew Kuo dissects every moment of the surprising new Kanye West single, “Love Lockdown.”
Hot Chip is a proudly nerdy British dance-rock band known for its frenetic shows and electropop anthems like “Over and Over.” The artist Andrew Kuo reviewed a recent show at Terminal 5 in New York.
The artist Andrew Kuo reviews one of the preppy synth-pop band’s recent shows, and every song on the new record.
Times Topics: Musicians