Warren Frye on “The Saga of the Earls of Orkney,” edited and translated by Judith Jesch.

Mahler’s Third began with a blatty onset in the horns—but, as they continued, those horns were arresting. Part I as a whole ...

On a concert by the National Symphony Orchestra, at the Trump Kennedy Center.

On “Louise Nevelson: Mrs. N’s Palace,” at the Centre Pompidou, Metz.

Jane Coombs on a performance of the Sukhishvili Georgian National Ballet, at Carnegie Hall.

While Dueñas was playing, a woman sneaked down the aisle, back to her seat. Apparently, she had left after the Beethoven, not realizing that there would be an encore. This time she had her shoes—those ...

A recital by Juan Diego Flórez, the Peruvian tenor, follows a pattern. With Vincenzo Scalera at the piano, the program begins with songs by bel canto composers—Bellini, Donizetti, Rossini. It has some ...

On a sampling of Christmas music.

Longtime readers will know that The New Criterion has had what might politely be described as a fraught relationship with the National Endowments for the Arts and Humanities. Samuel Lipman, our ...

My aim is to show that we have entered a period of post-historical art, where the need for constant self-revolutionization of art is now past. There can and should never again be anything like the ...