Alex Ross

Alex Ross, The New Yorker music critic known for cultural commentary, and Hannah Freed-Thall, NYU professor studying taste and modernism. They discuss wasted time in Proust, salon life and social pretension. They trace habit, involuntary memory, art’s role in remaking waste, and the novel’s social satire and aesthetics.

Alex Ross, music critic at The New Yorker since 1996, discusses the changing field of criticism, Wagner's complicated legacy, and the role of art and artist. They also explore the importance of humor, the evolution of music criticism, artists overcoming failure, and German speaking emigres in Los Angeles.

Operatic soprano Jane Eaglen, renowned for her Wagnerian portrayals, shares her emotional connection to the Liebestod aria and her personal love story. Music critic Alex Ross delves into Wagner's historical influence and the layers of romantic desire in Tristan und Isolde. Meanwhile, writer Mandy Len Catron discusses modern love's complexities, including the interplay between choice and destiny in relationships. Together, they explore themes of forbidden love, the potion's implications, and the emotional journey that captivates audiences.

Alex Ross, a music critic for The New Yorker and author of "Wagnerism," talks about the nuanced connections between music and culture. He highlights the complex legacy of Wagner, the impact of recording technology on orchestras, and the training deficits in modern opera singers. Ross critiques artistic choices in films by Lars von Trier and Orson Welles, predicts shifts in concert attendance post-COVID, and discusses the influences of Rothko on music. His insights bridge the gap between classical music and wider cultural narratives.

Alex Ross, a renowned music critic for The New Yorker and author of 'The Rest is Noise,' dives deep into the world of classical music. He discusses the evolving definition of the genre and the influence of marketing versus artistic expression. Ross explores the transition from traditional formats to digital streaming, reflecting on how this shift alters our listening habits. He also addresses the accessibility of classical music, the high costs of performances, and innovative ways to attract a diverse audience while sharing personal musical recommendations.