Lloyd Schwartz

Lloyd Schwartz is the classical music critic for NPR's Fresh Air with Terry Gross.

In addition to his role on Fresh Air, Schwartz is the classical music editor of The Boston Phoenix. He is the co-editor of the Library of the America's Elizabeth Bishop: Poems, Prose, and Letters. He is also the author of three volumes of poems: These People, Goodnight, Gracie and Cairo Traffic. He's the editor of the centennial edition of Elizabeth Bishop's Prose, published by Farrar, Straus, and Giroux in 2011.

In 1994, Schwartz won the Pulitzer Prize for criticism. He is the Frederick S. Troy Professor of English at the University of Massachusetts, Boston.

Copyright 2014 NPR. To see more, visit http://www.npr.org/.

Copyright 2014 NPR. To see more, visit http://www.npr.org/.

Transcript

DAVID BIANCULLI, HOST:

There are many recordings of Mozart's The Marriage of Figaro. Do we need another? In the case of this new recording led by the young Greek conductor Teodor Currentzis, Fresh Air classical music critic Lloyd Schwartz says, "Absolutely."

The legendary German conductor Otto Klemperer was one of the most profound musicians of the 20th Century. In the 1960s, nearing the end of his career, he overcame many physical handicaps to create an astonishing body of recorded classical music. EMI has just reissued a broad spectrum of his recordings, including a box set of one of the composers he's most associated with: Gustav Mahler. Fresh Air classical music critic Lloyd Schwartz has a review of Mahler: Symphonies 2, 4, 7 & 9 / Das Lied von der Erde.

Broadway had never seen anything like it when Show Boat arrived at the Ziegfeld Theatre in 1927. The score was unforgettable and the story tackled complex racial issues. There have been three movie versions, but the best one — James Whale's 1936 production — has only just been released on DVD.

Show Boat was the first great serious Broadway musical. Jerome Kern and Oscar Hammerstein II, who wrote the songs, and Florenz Ziegfeld Jr., who produced it, departed from typical musical comedy material, with its chorus lines and songs showcasing star performers.

One of the most unsettling rooms in an important art exhibit at New York's Neue Galerie is a room in which numerous empty frames are hanging, with guesses about which paintings might have been in them. The paintings themselves were all lost or destroyed by the Nazis. Encouraged by Hitler, most Nazis (Joseph Goebbels was the rare exception) considered everything but the most hidebound, traditionally realistic paintings and sculptures to be "degenerate," a threat to the Aryan ideals of German culture.

Fresh Air's classical music critic Lloyd Schwartz is also a poet. He recently published a poem about friendship and loss on Poets.org. It's titled "To My Oldest Friend, Whose Silence Is Like A Death:"

In today's paper, a story about our high school drama
teacher evicted from his Carnegie Hall rooftop apartment

Transcript

TERRY GROSS, HOST:

This is FRESH AIR. At 44, the German tenor Jonas Kaufmann may be the most popular tenor of his generation and one of the most versatile. Music critic Lloyd Schwartz reviews two of his recordings this year, dedicated to both Verdi and Wagner, celebrating the bicentennials of their birth.

(SOUNDBITE OF MUSIC)

Some years ago, I wrote a poem called "Why I Love Vermeer," which ends "I've never lived in a city without a Vermeer." I could say that until 1990, when Vermeer's exquisite painting The Concert was one of the masterpieces stolen from Boston's Isabella Stewart Gardner Museum. It's still missing.

An extended ovation greeted conductor James Levine last May when he returned to performing after a two-year absence. In 2011, he resigned as music director of the Boston Symphony Orchestra and cancelled his performances at the Metropolitan Opera. He'd been plagued by health problems, injuries and operations, and it was painful for him to move. Many of his admirers, even he himself, feared he might never conduct again.

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