This isn’t a list for the likes of Marin Alsop, JoAnn Falletta, and Susanna Mälkki, who are already established. You’ve heard of some of these women; you will be hearing more of all of them. (They forgot Karina Canellakis, though.)

“It’s a simple fact that nowadays, in the Sondheim era, Broadway composers, conductors, and singers are musically better schooled than ever, and at ease in a wider range of idioms. … The classical/showtune connection has reopened, with evidence on display all around us.”

“Considered lost for more than a century, the manuscript of the piano-vocal score for Berlioz’s Les Troyens has just been acquired by the National Library of France. Personally transcribed by the composer, it is the most complete version of the opera known today.” (in French; includes audio)

“A spokesman for ENO said he could not comment on individual pay levels, but told The Stage that a target had been set internally to cut the overall pay of ENO’s 11 senior managers by 20%.”

At a Sunday afternoon concert of Baroque and (more or less) contemporary music in Cologne by harpsichordist Mahan Esfahani and the orchestra Concerto Köln, some listeners were evidently not ready for Steve Reich’s Piano Phase (1967). First, as Esfahani gave a spoken introduction in English, some audience members demanded aloud that he speak German; then Reich’s music was greeted with enough whistling, slow clapping, and laughter that Esfahani abandoned the piece halfway through. (in German; Google Translate version here)

The finding promises to divide musicians, and could require instrument-makers, sellers and renters — who now offer sets of tuned taxi horns specifically for “An American in Paris” — to consider investing in new sets tuned to the new notes.