Tom Huizenga

Tom Huizenga is a producer for NPR Music. He contributes a wide range of stories about classical music to NPR's news programs and is the classical music reviewer for All Things Considered. He appears regularly on NPR Music podcasts and founded NPR's classical music blog Deceptive Cadence in 2010.

Joining NPR in 1999, Huizenga produced, wrote and edited NPR's Peabody Award-winning daily classical music show Performance Today and the programs SymphonyCast and World of Opera.

He's produced live radio broadcasts from the Kennedy Center and other venues, including New York's (Le) Poisson Rouge, where he created NPR's first classical music webcast featuring the Emerson String Quartet.

As a video producer, Huizenga has created some of NPR Music's noteworthy music documentaries in New York. He brought mezzo-soprano Joyce DiDonato to the historic Stonewall Inn in Greenwich Village, placed tenor Lawrence Brownlee and pianist Jason Moran inside an active crypt at a historic church in Harlem, and invited composer Philip Glass to a Chinatown loft to discuss music with Devonté Hynes (aka Blood Orange).

He has also written and produced radio specials, such as A Choral Christmas With Stile Antico, broadcast on stations around the country.

Prior to NPR, Huizenga served as music director for NPR member station KRWG, in Las Cruces, New Mexico, and taught in the journalism department at New Mexico State University.

Born in Grand Rapids, Michigan, Huizenga's radio career began at the University of Michigan, where he produced and hosted a broad range of radio programs at Ann Arbor's WCBN-FM. He holds a B.A. from the University of Michigan in English literature and ethnomusicology.

Half way through this performance of Max Richter's achingly beautiful On The Nature Of Daylight, I looked around our NPR Music office and saw trembling chins and tearful eyes. Rarely have I seen so many Tiny Desk audience members moved in this way. There's something about Max Richter's music that triggers deep emotions.

Harriet Tubman may be the best-known conductor of the Underground Railroad, but a new album highlights another key figure: William Still, who helped nearly 800 enslaved African Americans escape to freedom in the years before the Civil War.

When opera star Joyce DiDonato told us she wanted to sing centuries-old Italian love songs at the Tiny Desk we weren't surprised. But when she said she was bringing a jazz band to back her up, we did a double take. But that's Joyce, always taking risks. After all, the last time we filmed the down-to-earth diva, she insisted on singing an opera aria at the Stonewall Inn, the iconic gay tavern in Greenwich Village.

After the ferociously talented harpist Bridget Kibbey unpacked her 47-stringed instrument at our NPR Music offices, she proceeded to crush the stereotype of the genteel harp, plucked by angels. She proved that the instrument can be as tempestuous as a tango, as complex as a Bach fugue and sing as serenely as a church choir.

Kibbey is crazy for the harp. She first heard one at a country church amid the Northwest Ohio cornfields where she grew up. Now she's the go-to harpist for contemporary composers, some of whom who are writing pieces especially for her.

Adrianne Lenker is the guitarist and singer for the Brooklyn, N.Y.-based rock band Big Thief. Cecilia Bartoli is the Italian opera singer who thrives on neglected repertoire from the 18th century. The two women might seem like strange bedfellows, but they come together in our series titled "highly specific superlatives," a kind of drilling down to some of the finest and most precise moments in the arts in 2019.

Cecilia Bartoli isn't your average opera star. She doesn't sing many of the popular 19th century operas. Instead, she prefers to explore the dusty, little-known corners of the 18th century.

Bartoli's new album is devoted to music written for a single artist of the Baroque era named Farinelli. He was the most acclaimed opera singer of the mid-1700s, the rock star of his day, singing some of the most virtuosic music ever written for the human voice.

When Russian-born pianist Igor Levit dropped in to play Beethoven at the Tiny Desk, he admitted he was – even after four cups of coffee – "still in my time zone change." A little jet-lagged, he had flown in from Berlin the night before and hopped an early train from New York to Washington, D.C.

In a career – and personal life – loaded with enough drama to fuel an opera, Kanye West is finally presenting one. Or at least that's what he tweeted Sunday, announcing a performance of Nebuchadnezzar, "A Kanye West Opera" at the Hollywood Bowl on Nov. 24.

Caroline Shaw sings her own song, "And So," with the Attacca Quartet.

The Baltimore Symphony Orchestra is back. Orchestra officials and musicians held a joint news conference Monday, on stage at Meyerhoff Symphony Hall, to announce the ratification of a one-year contract that effectively ends a 16-week showdown between the two groups.

"I'm thrilled that an agreement has been reached," BSO music director Marin Alsop said in a statement announcing the new contract, "and that we will have our musicians back on stage to open our 104th season beginning on Friday night."

Composer Christopher Rouse, who once called himself a writer of "fast and furious" music and who taught courses in the history of rock, died Saturday of complications of renal cancer at age 70.

When the first enslaved Africans landed on American shores in 1619, their musical traditions landed with them. Four centuries later, the primacy of African American music is indisputable, not only in this country but in much of the world. How that music has evolved, blending with or giving rise to other traditions — from African songs and dances to field hollers and spirituals, from ragtime and blues to jazz, R&B and hip-hop — is a topic of endless discussion.

With a season-opening concert slated for Saturday, Baltimore Symphony Orchestra musicians and its management are still locking horns over details of a new contract agreement. A bargaining session ended Monday night with no resolution, only a set of last minute proposals from management which players will vote on Tuesday night.

Julia Wolfe might be called America's "labor documentarian," but she's not making movies. She's composing music.

Controversy has seemed to follow pianist Ivo Pogorelich at every move, even from the beginning. In 1980, when the 22-year-old whiz kid from Yugoslavia failed to reach the final round of the International Chopin Competition, the revered pianist Martha Argerich, who declared him a "genius," stormed off the jury in protest. Naturally, the dustup helped launch his career. With a brooding pout, movie star looks and a high-powered record deal, Pogorelich was an instant celebrity.

It's not every day someone walks into our NPR Music offices and unpacks an instrument made in 1680. And yet Kian Soltani, the 27-year-old cellist who plays with the authority and poetry of someone twice his age, isn't exactly fazed by his rare Giovanni Grancino cello, which produces large, luminous tones. (He also plays a Stradivarius.)

And if you think the notion of a cello recital isn't exactly sexy or thrilling, just take a look at Soltani; he radiates joy and ingenuity as he performs three pieces that offer virtuosity, sweet lyricism and fire.

Augustin Hadelich's latest album of violin concertos offers two unlikely bedfellows. The tuneful, romantic classic by Johannes Brahms bumps up against the modernist mayhem of György Ligeti. The album, titled simply Brahms, Ligeti: Violin Concertos, also proves to be a compelling introduction to one of today's best, but still undervalued, violinists.

Updated on Jun. 17 at 11:41 a.m.

Baltimore Symphony Orchestra (BSO) musicians, carrying signs reading "Fair Play for World Class Musicians," have begun picketing in front of their artistic home, Joseph Meyerhoff Symphony Hall, as the orchestra's management has locked out its players.

In the opening scene of Pavarotti, the new documentary by director Ron Howard, the popular tenor travels deep into the Amazon jungle in search of an old opera house where the great Enrico Caruso may have once sung.

The building is shuttered, but because he's Luciano Pavarotti the door is unlocked for him to belt out a few honeyed notes from the stage. His fabulous voice soars into the vast emptiness of the auditorium.

In a surprising announcement Thursday, the Baltimore Symphony Orchestra abruptly cancelled its summer 2019 lineup of concerts.

On this edition of All Songs Considered, Radiohead guitarist Jonny Greenwood joins us to talk about two of his classical compositions we've just premiered on our Tiny Desk series.

The Royal Concertgebouw Orchestra, the leading symphony orchestra in the Netherlands, and its former chief conductor, Daniele Gatti, have come to a mutual agreement over the conductor's dismissal last August.

Tuesday the orchestra issued a statement on its website, claiming that "matters between the two parties have been resolved following extensive discussions."

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If just one thing can be confirmed from these compelling Tiny Desk performances by the Calidore String Quartet, it should be that the centuries-old formula – two violins, a viola and a cello – is still very much alive and evolving. Indeed, an impromptu show of hands in the audience before the concert began revealed that almost everyone had seen a string quartet perform live.

Fans of Hector Berlioz — and record companies, it appears — need no excuse to celebrate the music of the pioneering French composer and quick-witted music critic. The sesquicentennial of Berlioz's death falls on March 8, and to mark the occasion, Warner Classics has released a 27-CD box containing, purportedly, every forward-thinking note the composer ever wrote.

The beloved American baritone Sanford Sylvan died Tuesday at his home in Manhattan. Lenore Sylvan, the singer's mother, along with his sister Gwen Sylvan and brother Seth Sylvan confirmed the death to NPR Thursday morning. Marc Mandel, a close family friend and director of program publications at the Boston Symphony Orchestra, said that the death was "entirely sudden" and that it was "deemed to be of natural causes." Sylvan was 65.

In 1933, the Chicago Symphony Orchestra gave the world premiere of Symphony No. 1 by a then little-known composer named Florence Price. The performance marked the first time a major orchestra played music by an African-American woman.

Price's First Symphony, along with her Fourth, has just been released on an album featuring the Fort Smith Symphony, conducted by John Jeter.

Narrowing a list to just 10 is always a painful game. This year, amid a multitude of albums, I found favorite musicians (Víkingur Ólafsson), newcomers (the young Aizuri Quartet) and familiar players in compelling collaborations (Brooklyn Rider and Magos Herrera), all offering fascinating performances of music from the baroque to the freshly minted.

This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at NPR.org/Anthem.


Sometimes it takes an outsider to point out what's great about a culture. That's exactly what Czech composer Antonin Dvorak was when he came to the U.S. at the end of the 19th century, an immigrant thrown into a new world and new sounds.

Note: This article was originally published on Nov. 8, 2018. Joni Mitchell's age throughout has been updated to reflect her age as of Nov. 7, 2019.


"Good Friends," here's "The Arrangement."

Joni Mitchell, a "Woman of Heart and Mind," turns 76 today. She's "A Lucky Girl."

The irony couldn't have been more vivid when Maria Callas sang the words "The dead don't rise again from the grave," from Verdi's opera Macbeth, on stage Friday night at the Moss Arts Center in Blacksburg, Va.

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