Alex Ross

New Yorker classical critic; The Rest Is Noise and Wagnerism.

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Alex Ross4mo

June 2026: Habemus Habermas

Günter Fruhtrunk’s Tagtraum Wiesengrund, the centerpiece of Habermas’s living room.

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May 2026: Czernowin in Witten

The hyper-prepared piano for Alberto Posadas’s Kintsukuroi.

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April 2026: Belated discoveries

Last month, around the time of my elegiac visit to the Kennedy Center, I returned to the Manuscript Reading Room at the Library of Congress to have another look at the Arthur Family Papers—an uncommonly fascinating trove of materials relating to the three Chester Alan Arthurs, I, II, and III.

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March 2026 addendum

The minatory view from the Kennedy Center terrace, March 11.

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March 2026: Tales of exile

The opening sentence of my recent column about New York Festival of Song—”When is it time to flee an incipient police state and go into exile?”—is not entirely theoretical.

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February 2026: Feldman time

I first fell under Morton Feldman’s glacial spell in the late 1980s, when I was hosting a college-radio show called Music Since 1900.

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January 2026: Annals of gay chaos

At this stage of my curiously long career—I am somehow entering my thirtieth year as the New Yorker’s music critic—I enjoy nothing more than digging into archives and uncovering past lives.