Anne Midgette is a leading voice in classical music and arts criticism, known for her incisive analysis at The Washington Post (2008–2019) and pioneering digital commentary. Her work spans opera, contemporary composition, and visual arts, with a focus on equity and institutional evolution.
Anne Midgette’s career as a critic and journalist spans three decades, marked by her incisive analysis of classical music’s shifting landscape. A Yale graduate in Classical Civilization, she began her journey in Munich, Germany, writing for The Wall Street Journal and Opera News while immersing herself in Europe’s arts scene. Her return to the U.S. in 1998 catalyzed a trajectory that would redefine classical music criticism.
“Criticism isn’t about judgment—it’s about starting a conversation.”
As the first woman to regularly write classical music criticism for The New York Times (2001–2007), Midgette dismantled gatekeeping traditions. Her 2005 piece, The End of the Great Big American Voice, sparked debates about vocal training’s decline. At The Washington Post (2008–2019), she expanded her beat to visual arts and theater while maintaining her blog, The Classical Beat, a pioneering platform for digital-era criticism.
Midgette’s analysis of Donald Trump’s takeover of the Kennedy Center dissects the collision of politics and art. She contrasts the performing arts’ deliberate pace with Trump’s abrupt leadership changes, questioning how institutions retain integrity amid ideological shifts. By interviewing ousted board members and analyzing Richard Grenell’s interim directorship, she exposes the fragility of cultural stewardship in polarized times.
This personal essay intertwines the National Philharmonic’s near-collapse with themes of artistic resilience. Midgette reflects on pandemic-era furloughs, using the orchestra’s revival as a metaphor for classical music’s adaptive potential. Her interviews with musicians reveal how crisis bred innovation, from livestreamed concerts to community partnerships.
Profiling opera singers who embraced the COVID-19 shutdown, Midgette highlights unexpected creative freedoms. Mezzo-soprano Jamie Barton’s foray into indie folk and tenor Lawrence Brownlee’s virtual recitals exemplify artists reclaiming agency. The piece challenges the industry to rethink rigid career paths post-pandemic.
Midgette consistently amplifies marginalized voices, as seen in her 2017 list of female composers. Pitches should highlight overlooked figures in classical music, especially women and people of color. Example: A profile of Haitian-American composer Nathalie Joachim’s fusion of electronic and orchestral elements.
Her coverage of the Kennedy Center underscores her interest in organizational dynamics. Propose stories about orchestras adopting hybrid models or museums addressing colonial legacies. Example: How the San Francisco Symphony integrates AI into educational outreach.
Midgette’s review of Lang Lang’s genre-blurring collaborations (2012) reveals her appetite for innovation. Pitches might explore crossover projects, like a string quartet scoring a VR experience or an opera inspired by climate activism.
Her work on Beethoven’s piano builder, Nannette Streicher, demonstrates a fascination with historical figures. Suggest narratives linking past and present, such as a modern luthier reviving Baroque instruments.
She critiques click-driven content (e.g., “Tenors Who TikTok”). Focus instead on substantive shifts, like conservatories addressing mental health or the Met Opera’s labor reforms.
Midgette’s 2015 fellowship recognized her mentorship of emerging critics. The National Endowment for the Arts program, competitive and prestigious, underscores her role in shaping the field’s future.
Her 2006 New York Times essay on opera’s emotional authenticity was anthologized alongside luminaries like Alex Ross. This honor places her in the canon of influential music journalism.
In 2023, Midgette addressed systemic inequities in arts funding, advocating for decentralized support models. Her speeches often bridge critique and actionable solutions.
At PressContact, we aim to help you discover the most relevant journalists for your PR efforts. If you're looking to pitch to more journalists who write on Arts, here are some other real estate journalist profiles you may find relevant:
