Dispatch
Rights of Mann | The New Criterion
“Buddenbrook-House” at Mengstraße 4, Lübeck, was largely destroyed in the March 1942 RAF raid,…
Watery grave | The New Criterion
“I must destroy you,” sings Rusalka, the water nymph and title character of Antonín Dvořák’s only…
The man who would be king
England is old. The history of its foundation remains shrouded in mystery and the allure of myth.…
The Critic’s Notebook | The New Criterion
Poetry: The Best American Poetry 2025, edited by David Lehman and Terence Winch (Scribner): “The…
Midas in Munich | The New Criterion
Should opera be set in a modern idiom? This burning question found its latest answer in Munich this…
Masked murder | The New Criterion
Few of Giuseppe Verdi’s operas have a history as confusing as Un ballo in maschera does. As a bridge…
Week in review | The New Criterion
Recent stories of note: “Worse than woke, Smithsonian art is bad”Gage Klipper, The Spectator World…
Sargent’s heiresses | The New Criterion
The Music Room at Kenwood House serves as the grand centerpiece gallery of a new exhibition on the …
The world’s greatest calendar | The New Criterion
In somewhat the same way as Chaucer’s Canterbury Tales, the illuminated paintings of The Very Rich…
David and the modern Goliath
Of all the museums charged with the preservation of artistic traditions, those dedicated to the…
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