About...

What we're talking about 
Is there a fundamental difference in the ways music critics see their roles? Are European classical music critics different from American critics? Are there different expectations of London critics than New York critics? Between critics in the “second cities” of America and those of Europe? Consequently... more

Who's talking 
Our invited critics include: from the UK: Hugh Canning (Sunday Times), Norman Lebrecht (Evening Standard), Fiona Maddocks (Evening Standard); from Canada: Colin Eatock (freelance), Robert Everett-Green (The Globe & Mail); from Australia: Peter McCallum (Sydney Morning Herald); from the USA: Willa Conrad (Newark Star-Ledger), Andrew Druckenbrod (Pittsburgh Post-Gazette), Lawrence Johnson (South Florida Sun-Sentinel), Joshua Kosman (San Francisco Chronicle), Allan Kozinn (The New York Times), Anne Midgette (The New York Times), Tim Page (Washington Post), Donald Rosenberg (The Plain Dealer), Tim Smith (Baltimore Sun), David Patrick Stearns (Philadelphia Inquirer)

How this blog works 
We’ve asked 15 critics from the US, UK, Canada and Australia to face off in a discussion about how they do their jobs. The conversation will last from Monday, July 18-Friday July 22, 2005. The blog is a lead-up to this year's Aspen Music Festival Critics' Symposium, where Tim Page, Willa Conrad, Greg Sandow and Anne Midgette will be taking part in public panels. Reader comments to the blog... more

Aspen Music Critics Event 
At the end of this blog (July 22-24), a group of four music critics gather at the Aspen Music Festival for a weekend of discussion. AJ blog partner

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Our Critics

UK
  Hugh Canning, Sunday Times
   US versus Europe
   Different Worlds

  Norman Lebrecht, Evening Standard
   we're all right
   the world revolves, music criticism stands still

  Fiona Maddocks, Evening Standard
  It's all in the stars
  Hang on, Norman
  View from London

Canada
  Colin Eatock, freelance
  "just" a features writer

  Robert Everett-Green, The Globe &    Mail
  A "school" with few students
  Who Cares If They Read?

Australia
  Peter McCallum, Sydney Morning    Herald
   19th Century Vienna
   Word without thoughts never to heaven go
   To criticise the critic

US
  Willa Conrad, Newark Star-Ledger
  More on newspapers underwriting the arts
  Another way to look at the American style

  Andrew Druckenbrod, Pittsburgh    Post-Gazette
   Critics: more different than similar
   Where did I put that periwig?

  Lawrence A. Johnson, The Sun-   Sentinel (Florida)
  Baltimore counterpoint; In Search of Lost (press) Time
  The Critic's Role(s)

  Joshua Kosman, San Francisco    Chronicle
   One Voice Per Beat

  Allan Kozinn, The New York Times
  London and US
  Reporting and Ink Measurement
  Critics and Reporters and Being Played Like a Fiddle
  Observations about the observations
  One view from New York

  Anne Midgette, The New York Times
  Absent Critic Weighs In Late

  Tim Page, Washington Post

  Donald Rosenberg, The Plain Dealer
  Finding a balance
  Touting Two Tims
  Geographical differences?

  Tim Smith, Baltimore Sun

  David Patrick Stearns, Philadelphia    Inquirer
  Absent critic weighs in - later

Moderator
  Douglas McLennan, ArtsJournal

Readers

Mary Jo re: 'US versus Europe'
Claire Blaustein re: 'Who Cares If They Read?'
William Osborne re: 'Absent Critic Weighs In Late'
William Osborne re: 'It's all in the stars'
Garth Trinkl re: 'Reporting and Ink Measurement'
Robert Everett-Green re: 'Who Cares If They Read?'
Barbara Scales re: '"just" a features writer'
Laura Kennelly re: '"just" a features writer'
Garth Trinkl re: 'Reporting and Ink Measurement'
Garth Trinkl re: 'Looking For A Critical Connection'

Click here for all reader comments

Resources

Lebrecht: Why American Arts Journalism Is So Bad 
Norman Lebrecht doesn't think much of American arts journalism. "The failure to challenge is a fundamental flaw in US arts journalism. The tone in US arts coverage is uniformly respectful, uninquiring, inherently supportive." And how did this happen? Because there are few cities with multiple critical voices. "This monopoly places an unhealthy burden on critics. If theirs is to be the only voice to pronounce on a new show or the fate of an institution, they are obliged to wear a mantle of responsibility that is antithetical to good journalism. A critic is licensed to get it wrong from time to time. Restrict that license and the reviews grow safe and solemn. An era of incorporation fostered a pontifical tone in American arts criticism." La Scena Musicale 04/01/04

Director Weighs In On Critics 
Why isn't American theatre criticism more of a "companion piece" than a Consumer Reports verdict, wonders Anna Shapiro. "Two things baffle me and make me angry, and they are this: When somebody writes about a new play and says the play is beautiful; the production is beautiful; the performances are stunning; the directing is weak. That makes me angry. But not as angry as: The direction is beautiful; the production is wonderful; the actors are amazing; the play is weak. That makes even less sense to me." Chicago Tribune 07/03/05

Biting Back At Toothless Critics 
Why the thumbs up/down review has damaged critics' power to set agendas. ArtsJournal 03/14/01

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