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.

John Luther Adams, whose music is inspired by — and sometimes performed in — natural landscapes, has won the Pulitzer Prize for music for his symphonic work Become Ocean.

Malta, the island nation 50 miles south of Sicily, may be small, but it's home to one of the biggest stars in opera, tenor Joseph Calleja. And like his country's name, which may originate in the Greek word for honey, Calleja's voice is a potent mix of Italianate passion and sweetness. Just listen to how he pulls the volume back to a slender golden ray of tone several times in Tosti's gorgeous "Ideale," and especially the word "disciogliea" in the Puccini aria that closes this performance.

With St. Patrick's Day upon us, it's hard to escape the allure of the Emerald Isle, with its rolling heaths, swirling jigs, frothy beer and curious legends. While we can't afford to fly you to Dublin we can offer this humble St. Paddy's Day puzzler. Score high and be rewarded with the pot 'o gold at the end of the rainbow. Mess up and yours is a sad bowl of soggy Lucky Charms.

When it comes to musical dynasties, it's tough to top the Bach family. From town fiddlers to court composers, the Bachs dominated German music for seven generations. Today, Johann Sebastian towers above all his relatives, but there's another important Bach we shouldn't forget — especially today, on the 300th anniversary of his birth.

Robert Ashley, a restlessly innovative American composer, died at his home in New York March 3 from complications of cirrhosis of the liver. NPR confirmed the composer's death through his wife and manager Mimi Johnson. Ashley was 83.

"New classical music is well and alive," Brad Wells, director of the vocal collective Roomful of Teeth, said yesterday as he accepted his Grammy for Best Chamber Music/Small Ensemble Performance.

Odd musical mergers in the Grammy Awards telecast are nothing new — remember Paul McCartney, Linkin Park and Jay-Z singing "Yesterday?" Still, when thrash metal band Metallica and classical pianist Lang Lang take the stage together Sunday night, it may seem more like a head-scratcher than a clever match.

Or will it?

Van-Anh Vanessa Vo is a veteran when it comes to taking risks, and it pays off in her compelling music. As a young girl in Vietnam, she knew she wanted to be a traditional musician, even though it was a world dominated by men. It was risky, then, when she pestered a master teacher for three years to give her lessons. He finally gave in, taking her on as an apprentice.

Sunny Yang joined Kronos Quartet in June 2013. Now, just five months later, the cellist she says she's learned quite a few new works — not just a handful, but about 70 pieces.

There's a beguiling photo of Krzysztof Penderecki, who turns 80 today, inside the brochure of this week's Warsaw music festival that bears his name. It shows the lauded Polish composer standing in his immense garden, surrounded by a labyrinth of trees and shrubbery trimmed to symmetrical perfection.

It's that time of year again when freshly steamed curtains are rising on opera stages across the country, introducing another new season of performances. And this time, one composer will be popping up more than usual — Giuseppe Verdi.

Most opera singers work their way to the big league by singing bit parts in regional opera houses. Not soprano Angela Meade. She landed on top instantly with her professional debut in the lead soprano role of Giuseppe Verdi's Ernani at New York's Metropolitan Opera in 2008.

It was a dream come true. The star soprano took ill and the understudy, Meade, was suddenly shoved into the spotlight. The press said she sang "like an old pro from start to finish."

These days, Lawrence Brownlee spends most of his time on the stages of the world's great opera houses. That's where you'll find him singing Rossini and Donizetti. His supple, strong, high-flying voice can negotiate the tightest hairpin turns with grace and elegance; that, and his ability to command the stage as an actor, has won Brownlee the praise of critics worldwide.

People ask why I thrive on classical music, and I tell them it's all about discovery. The possibilities for finding incredible music, both old and new, are endless as the oceans.

It's not quite the quest for the Holy Grail, but we're in pursuit this summer of the "Great American Symphony." And in many respects, our journey is just as important as our destination.

Pigeonholing the classically trained string trio Time for Three isn't easy, but that's also a blessing. The musicians — violinists Zachary De Pue and Nick Kendall with double bassist Ranaan Meyer — say they love a kaleidoscopic spectrum of music. "If we like it, we play it" is their motto.

It's not every day a great opera diva makes it to the century mark. So let's take a moment to cheer for Licia Albanese, the beloved Metropolitan Opera star, who celebrates her 100th today and who most likely would not care to be called a "diva."

Critics and fans love a good debate over the great American novel or great American movie. But what about the great American symphony?

Is there one? If not, why? If so, which symphonies are good candidates for the title? (Check out our Spotify list for some contenders.) And in the land of the melting pot, what does it mean for a symphony to be "American" in the first place?

It's a brave new musical world. Between downloads, iPods, music sharing websites and the good old CD, we have more easy access to the songs and symphonies we love than ever before.

The violin, though centuries old, remains a popular yet remarkably unwieldy instrument. Just squeezing the contraption between your chin and shoulder, then raising your bow arm to the proper height, is enough to induce a pinched nerve. Yet every day countless numbers of people try to make the instrument sing.

It's easy to think of opera as little more than an affected flock of singers warbling onstage in lacy brocade with pancake makeup, chandeliers and champagne.