Tom Huizenga

Tom Huizenga is a music producer, reporter and blogger for NPR Music.

He is a regular contributor of stories about classical music to NPR's news programs and co-hosts NPR's classical music blog Deceptive Cadence.

Joining NPR in 1999, Huizenga spent seven years as a producer, writer and editor for NPR's Peabody Award-winning daily classical music show Performance Today and for programs SymphonyCast and World of Opera.

He's produced live concerts, including a radio broadcast of Gershwin's Porgy & Bess from Washington National Opera at the Kennedy Center and NPR's first classical music webcast from the Manhattan club (Le) Poisson Rouge, featuring the acclaimed Emerson String Quartet. He's also asked musicians to play in unlikely venues, such as cellist Alisa Weilerstein playing Bach at the Baltimore Aquarium. He's written and produced radio specials, like A Choral Christmas With Stile Antico, broadcast on stations around the country.

Huizenga's radio career began at the University of Michigan, where he hosted opera, jazz, free-form, and experimental radio programs at Ann Arbor's WCBN. As a student in the Ethnomusicology department, Huizenga studied and performed traditional court music from Indonesia. He also studied English Literature and voice, while writing for the university's newspaper.

Huizenga took his love of music and broadcasting to New Mexico, where he served as music director for NPR member station KRWG, in Las Cruces, and taught radio production at New Mexico State University.

Huizenga lives in Takoma Park, Md. and in his spare time writes about music for the Washington Post and overloads on concerts and movies.

When you stop to think about it, there really is no one like Barbra Streisand. There's Barbra the young Broadway legend, the movie star, the glass-ceiling-smashing movie director, the recording artist and now the venerated elder stateswoman of the showstopper.

Many stylistic winds blow through the repertoire of The Westerlies. The unconventional brass quartet from New York (Riley Mulherkar and Zubin Hensler, trumpets; Andy Clausen and Willem de Koch, trombones) embraces jazz, classical, new music and dance — and in this case, puts a new spin on an old British ballad.

"They killed my mother in the doorway." How's that for an opening line?

We're talking opera — specifically, the aria "La mamma morta" from Umberto Giordano's 1896 French Revolution thriller Andrea Chénier. The soprano is Anna Netrebko.

Let The Games Begin: A Playlist For Rio

Aug 5, 2016

The music of Johann Sebastian Bach is essential, like air and water, for many classical musicians. Pianist András Schiff starts every day with Bach — sometimes before breakfast. "It's like taking care of your inner hygiene. There's something very pure about it," he says.

Slowly but surely, Lubomyr Melnyk is getting noticed. This summer, the enigmatic Ukrainian-born pianist, who looks like Rasputin's doppelgänger, released illirion on Sony Classical.

From its mesmerizing ebb and flow and the purity of the choristers' blend alone, you'd be forgiven for thinking this might be one of Henryk Górecki's many sacred choral works. There's a palpable air of serenity and reflection. But instead, it's a song about a little pony and a blue-eyed girl.

For this most American of holidays, how do we define our music? What makes it uniquely American?

In 1929 George Gershwin wrote that it's "something deeply rooted in our soil." Baltimore Symphony Orchestra Music Director Marin Alsop said, "It's highly energized, rhythmic music derived from the blurring of lines between popular and serious styles."

The practice of lulling a child to sleep through music must be about the oldest tradition imaginable. All parents have wanted their children to sleep at some point, if only to have a little peace and quiet — and to plot strategies for getting their own shuteye.

Pianist Alessio Bax knows all about sleep — and lack thereof. He's a first-time parent, and his 22-month-old daughter Mila is, like any child that age, a handful, not to mention impossibly cute.

In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.

Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams' Nixon in China, Stewart Wallace's Harvey Milk, Leonard Bernstein's A Quiet Place, Mark Adamo's Little Women and three operas by Carlisle Floyd.

Barry Douglas knows a few things about handing down traditions. In this Tiny Desk performance, he passes along the musical heritage of his Irish homeland in the form of old Celtic songs he's arranged for solo piano.

When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked.

The Estonians are serious about singing. The power of human voices practically propelled the small Baltic country to independence during the Soviet era. In the late 1980s, hundreds of thousands of Estonians routinely gathered to perform forbidden patriotic songs. The events energized the nation, leading to what was called the "Singing Revolution."

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify playlist at the bottom of the page.

When critics talk about Yuja Wang, they continue to reach for superlatives.

Violinist Lara St. John has attitude in spades. It's in the sound of her playing and in the arc of her career.

The Chicago new-music ensemble Eighth Blackbird is on a roll. Just after winning its fourth Grammy in February, the group received a MacArthur Award for Creative and Effective Institutions; the prize came with a $400,000 grant. Hand Eye — Eighth Blackbird's second album in seven months — just came out, and this season the group marks its 20th anniversary. The celebration includes an extensive tour, with world premieres of music by Bryce Dessner and David T.

Pages