Alex Ross
Alex Ross has been the music critic at The New Yorker since 1996. He writes about classical music, covering the field from the Metropolitan Opera to the contemporary avant-garde, and has also contributed essays on literature, history, the visual arts, film, and ecology. His first book, “The Rest Is Noise: Listening to the Twentieth Century,” a cultural history of music since 1900, won a National Book Critics Circle Award and the Guardian First Book Award and was a finalist for the Pulitzer Prize. His second book, the essay collection “Listen to This,” won an ascap-Deems Taylor Award. His latest book is “Wagnerism: Art and Politics in the Shadow of Music,” an account of Wagner’s vast cultural impact. He is the recipient of a MacArthur Fellowship, a Guggenheim Fellowship, and an Arts and Letters Award from the American Academy of Arts and Letters.
All Work
Onward and Upward with the ArtsNovember 22, 2021 Issue
Davóne Tines Is Changing What It Means to Be a Classical Singer
The bass-baritone’s daring recitals feel almost like compositions in themselves.
By Alex RossNovember 15, 2021
Musical EventsNovember 1, 2021 Issue
Jonas Kaufmann’s Gilded Voice
A recital at Carnegie Hall confirms the tenor’s talent but leaves questions about the depth of his artistry.
By Alex RossOctober 25, 2021
Culture Desk
Marian Anderson’s Bone-Chilling Rendition of “Crucifixion”
Her performances of the Black spiritual in the nineteen-thirties caused American and European audiences to fall silent in awe.
By Alex RossOctober 19, 2021
Musical EventsOctober 18, 2021 Issue
The Tense, Turbulent Sounds of “Fire Shut Up in My Bones”
Terence Blanchard’s new opera, at the Met, deftly captures the churning inner world of its protagonist.
By Alex RossOctober 11, 2021
Onward and Upward with the ArtsSeptember 27, 2021 Issue
Richard Neutra’s Architectural Vanishing Act
The Austrian-born designer perfected a signature Los Angeles look: houses that erase the boundary between inside and outside.
By Alex RossSeptember 20, 2021
Musical EventsAugust 30, 2021 Issue
The Most Vital Conductor of Beethoven Is Ninety-four
Herbert Blomstedt’s readings deftly combine vigor and lyricism.
By Alex RossAugust 23, 2021
Musical EventsAugust 16, 2021 Issue
John Corigliano’s New Opera Reimagines Dionysus as Dracula
In “The Lord of Cries,” the composer has boldly returned to a form that he set aside in the early nineties.
By Alex RossAugust 9, 2021
Musical EventsJuly 26, 2021 Issue
The Sublime Terror of Kaija Saariaho’s “Innocence”
The new opera, which anchored the Aix-en-Provence Festival, is a monumental cry against gun violence.
By Alex RossJuly 19, 2021
Musical EventsJuly 12 & 19, 2021 Issue
Julius Eastman’s Florid Minimalism
The composer’s thunderous, propulsive “Femenine” is becoming a modern classic.
By Alex RossJuly 5, 2021
Cultural Comment
Harry Hay, John Cage, and the Birth of Gay Rights in Los Angeles
Five men sat together on a hillside in the late afternoon, imagining a world in which they did not have to hide.
By Alex RossJune 25, 2021
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