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.

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.

Editor's note: We're sorry.The video has been removed from this page.

When Igor Stravinsky began composing The Rite of Spring, his ballet for vast symphonic forces, he could hear the music in his head but couldn't quite figure out how to write it down. It was just too complicated.

How much do you know about Richard Wagner? Probably two unfavorable facts: He wrote very long, grandiose operas and was Hitler's favorite composer. As true as they are, those simple examples barely hint at the complexity of this endlessly creative and confounding artist.

We love mothers for all the Hallmark reasons: for their compassion and patience, not to mention giving birth. But some moms aren't exactly greeting card friendly — and none less so than those who live in the opera house.

This is opera, after all, so we expect the outrageous. But operatic moms seem to be disproportionately portrayed as murderers, harpies or generally women on the verge of a nervous breakdown. Your Normas, Medeas, Butterflies, Queens of the Night and Clytemnestras.

The young Austrian pianist Ingolf Wunder shines in Mozart, Jorge Federico Osorio reintroduces an intoxicating Mexican concerto and Elisveta Blumina reveals the gentle side of Ukrainian composer Valentin Silvestrov.

Robert Frost's famous poem "The Road Not Taken" begins with the line: "Two roads diverged in a yellow wood." Frost's traveler must choose between them. But slide that metaphor over to the world of classical music and you will discover hundreds of paths to explore.

For Christians around the world, this week, leading up to Easter Sunday, is one of the most meaningful in the religious calendar. The dramatic story of Jesus' final days, as related in the four Gospels of the New Testament, has been meaningful for composers, too, and a rich source for many musical settings of the Passion story. J.S. Bach is still the benchmark when it comes to composing Passions. His St.

It's a question virtually as old as the art forms themselves: Are ballet and opera elitist?

Ah, the joys of Monday morning quarterbacking, classical style.

Is there some kind of weird vocal vortex in Minnesota? The state turns out so many excellent choral groups — at the school, church and professional levels — that it can arguably be dubbed the choral center of the U.S.

The members of the male vocal ensemble called Cantus, who huddled around Bob Boilen's desk to sing for us, hail from that vortex — specifically Minneapolis-St. Paul.

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