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.

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.

A movie last year called A Late Quartet told the traumatic story of what happens when a famous string quartet has to change personnel. But, in fact, most string quartets — like symphony orchestras, only more conspicuously — continually change players, because players retire, or die, or get more lucrative offers.

Mozart's The Magic Flute, the last opera he lived to complete, has some of his most sublime and sublimely comic music. Technically, it's more of a musical comedy, what in German is called a Singspiel, a play with songs and spoken dialogue. I was excited to learn that it was filmed by Kenneth Branagh, whose Shakespeare movies I really admire. Mozart's mixture of fairy tale and high morality presents a great opportunity for a filmmaker; in 1975, Ingmar Bergman released a version for Swedish television that has become a beloved classic.

The sculptor Claes Oldenburg was born in Stockholm but grew up in Chicago, went to Yale and came to New York in 1956, where he became a key player in the pop art movement — the major counter-reaction to the abstract expressionism that dominated the 1950s. So much for art history.

Although Oldenburg is a serious artist, probably no artist in history ever created works that were more fun. In a new show at the Museum of Modern Art — really two shows — practically everyone, including myself, was walking through the galleries with a huge grin.