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.

Julia Wolfe, a composer associated with the New York music collective Bang on a Can, has won the Pulitzer Prize for music for Anthracite Fields.

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.

If you think all the twitchy rhythms and random shards of melody flashing through Stravinsky's The Rite of Spring sound complicated, consider the poor musicians who have to learn it. And then there's the conductor, who needs to perfectly place every piccolo tweet and bass drum boom.

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.

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.

From mezzo-soprano Cecilia Bartoli's ambitious revival of the early Baroque composer Agostino Stefani (and yes, she's got another outrageous album cover) to three very different roles for the violin, here's a clutch of classical albums I returned to again and again this year for sheer delight and aural inspiration. Bartoli lavishes extravagant attention on the music of a fascinating but forgotten link in the history of opera.

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