Anne Midgette, Veteran Washington Post Critic, and Greg Sandow, composer, educator and former Entertainment Weekly critic, in a deep dive into music, critique, and audience engagement

I was delighted to have the opportunity to sit down with Anne Midgette and Greg Sandow together. Both are influential thinkers and leaders in the world of music, each boasting remarkable careers. Anne served as the music critic for The Washington Post for 12 years, following her tenure at The New York Times. She has co-authored two captivating but distinctly different books: My Nine Lives: A Memoir of Many Careers in Music with Leon Fleisher, and The King and I: The Uncensored Tale of Luciano Pavarotti with Herbert Breslin. Currently, she is working on an exciting new project—a book about Nanette Streicher, the innovative woman who built pianos for Beethoven.Greg Sandow has an equally impressive background, having taught at Juilliard for 25 years and currently teaching at the Peabody Conservatory. His courses at Juilliard included "How to Talk About Music" and "Classical Music in an Age of Pop." Greg has written for a range of prestigious publications, such as The Village Voice, The New York Times Book Review, Opera News, and The Wall Street Journal. Notably, he was the first music critic for Entertainment Weekly and spent three years as the chief pop critic for The Los Angeles Herald Examiner. And here’s an interesting detail—Anne Midgette and Greg Sandow are married!In Part 1, we begin by exploring how Anne and Greg first met. From there, the conversation shifts to pop music with Greg offering his unique perspective, including why he believes Taylor Swift holds such significant cultural importance. This leads us into a thoughtful discussion on the relationship between art and commerce. A substantial segment of this part of the interview is devoted to their insights on how orchestras, opera companies, and musicians have evolved over the years and what orchestras can do to build and engage their audiences effectively.[Subscriber Content] In Part 2, we delve into the demanding schedules of successful conductors and musicians, touching on how the greatest artists need space and time to mature their interpretations. Following that, Anne and Greg share their individual writing habits, providing a glimpse into their creative processes. We conclude our conversation by examining revealing differences in how classical music is critiqued compared to pop and rock music.