Tom Huizenga

In 2021, I'm looking forward to, fingers crossed, live music. I really miss the roar of a symphony orchestra in concert or a soaring soprano on the opera stage. But artists are still making albums, even in lockdown, like British composer Max Richter. His upcoming album is a follow-up to last year's Voices. This new one is Voices, Part 2 which will be released in April.

The year 2020 was, in so many ways, divided. In terms of live performances, musicians were forced to reinvent, reflect and respond from a distance and in turn I watched their concerts from the remove of my laptop screen.

Heroes never fade from memory. Last year, on Sept. 30, 2019, the great American soprano Jessye Norman died suddenly. She was just 74.

When young composers reboot old musical formulas, exciting things can happen. Sarah Kirkland Snider's arresting Mass for the Endangered — released Sept. 25 — is a 21st century twist on the Catholic mass, which has been sung in churches for more than 1300 years.

New York's Metropolitan Opera, armed with technology, today's top singers and a captive, home-bound audience is, in spite of them, struggling to make opera relevant. The company's new streaming series, Met Stars Live in Concert, while a valiant endeavor, can't seem to shake off opera's fusty, aristocratic trappings.

One of America's most beloved and resourceful pianists has died. Leon Fleisher was 92 years old. He died of cancer in Baltimore Sunday morning, according to his son, Julian.

The pianist's roller coaster career began with fame, moved to despair and ended in fulfillment.

On Nov. 20, 1934, a brand new symphony brought a Carnegie Hall audience to its feet. The concert featured the Philadelphia Orchestra, led by its star conductor Leopold Stokowski. The music was the Negro Folk Symphony, by the 35-year-old African American composer William Dawson.

Our Daily Breather is a series where we ask writers and artists to recommend one thing that's helping them get through the days of isolation during the coronavirus pandemic. NPR Music's Tom Huizenga recently spoke with Pulitzer-winning composer Steve Reich, who has been keeping busy with the solitary act of writing a new piece from his winter getaway in Los Angeles.

Who: Steve Reich
Where: Los Angeles, Calif.
Recommendation: Keep on working

In these days of uncertainty, music can provide a safe haven, an escape, or even a boost of energy. I've found all of that and more in a new recording of the music of Carl Philipp Emanuel Bach, the second oldest of Johann Sebastian's musical sons, and a composer who continually fascinates me.

Some people respond to suffering by turning it into art. That's true even with the harrowing experience of a pandemic.

In the early 1400s, an Englishman named John Cooke composed Stella celi, a hymn to the Virgin Mary referencing the Black Plague which, according to some sources, wiped out half of Europe. Its text speaks of the "ulcers of a terrible death" but also the assurance that "the star of heaven ... has rooted out the plague."

Krzysztof Penderecki, one of the world's leading composers, died Sunday at the age of 86. The Polish Ministry of Affairs announced his passing in a tweet. No cause of death was given.

The Polish-born composer established himself while still in his 20s with jarring atonal works such as Threnody to the Victims of Hiroshima, and came to be widely admired by music fans and musicians far outside traditional classical music circles.

When Víkingur Ólafsson was about 5 years old, he already knew what he wanted to be. "It sounds crazy, but I always saw myself as a concert pianist," he says. "Even if I wasn't a good pianist."

Morning Edition's series One-Hit Wonders / Second-Best Songs focuses on musicians or bands whose careers are defined by a single monster hit, and explains why their catalogs have much more to offer.

In this edition, NPR's classical producer Tom Huizenga makes the case for the charming, danceable St. Paul's Suite by Gustav Holst, who's best known for his symphonic juggernaut called The Planets.

Plácido Domingo, who began singing at London's Royal Opera House in 1971, will not be performing with the company in scheduled performances this summer, according to a statement provided to NPR Friday morning.

"The Royal Opera House and Maestro ‪Plácido Domingo have mutually decided that he will withdraw from the Royal Opera House's upcoming performances of Don Carlo in July 2020," it reads in part.

Sometimes old recipes, newly tweaked, can yield astonishing results. Consider the concerto: It might be a 400-year-old formula, calling for a soloist to perform with — and often battle against — an orchestra. But occasionally, a brand new concerto arrives that offers old-fashioned thrills.