EditorialAndris Nelsons conducts the Boston Symphony Orchestra in a Beethoven program at Tanglewood in Lenox, Mass., July 10, 2021, the orchestra’s first in-person performance since March 2020. (Jillian Freyer/The New York Times)
EditorialMembers of the White Hands Choir of Venezuela, which includes deaf and hard of hearing performers, during a rehearsal for a new production of Beethoven’s opera “Fidelio,” in Los Angeles, April 8, 2022. (Michael Tyrone Delaney/The New York Times)
EditorialBernard Haitink conducts the Boston Symphony at the Tanglewood Music Festival in Lenox, Mass., July 9, 2006. (Michael Lutch/The New York Times)
EditorialYannick Nézet-Séguin leads the Philadelphia Orchestra in works by Valerie Coleman, Shostakovich, Bernstein, Iman Habibi and Beethoven at Carnegie Hall in New York on Wednesday, Oct. 6, 2021. (Julieta Cervantes/The New York Times)
EditorialPianist Conor Hanick, left, and the tenor Paul Appleby in recital at the Park Avenue Armory in New York on Sept. 20, 2021. (Hiroyuki Ito/The New York Times)
EditorialPianist Conor Hanick, left, and the tenor Paul Appleby in recital at the Park Avenue Armory in New York on Sept. 20, 2021. (Hiroyuki Ito/The New York Times)
EditorialAndris Nelsons conducts the Boston Symphony Orchestra in a Beethoven program at Tanglewood in Lenox, Mass., July 10, 2021, the orchestra’s first in-person performance since March 2020. (Jillian Freyer/The New York Times)
EditorialFrom left: Louisa Proske, Jacob Ashworth, Amanda Quaid and Daniel Schlosberg, the team behind Heartbeat Opera’s “The Extinctionist,” in Chatham, N.Y., May 25, 2021. (Amanda Picotte/The New York Times)
EditorialA score for Beethoven’s Symphony No. 9 belonging to Pittsburgh Symphony Orchestra music director Manfred Honeck, at the ensemble’s Heinz Hall in Pittsburgh on Feb. 9, 2021. (Ross Mantle/The New York Times)
EditorialForget that famous portrait of Beethoven, scowling with arched eyebrows and Medusa hair. For all its anguish, his music teems with hope. (Angie Wang/The New York Times)
EditorialGrace de Oliveira, 66, plays a Late Beethoven Piano Sonata in her apartment in the Bronx neighborhood of Throggs Neck, Dec. 3, 2020. (Amr Alfiky/The New York Times)
EditorialForget that famous portrait of Beethoven, scowling with arched eyebrows and Medusa hair. For all its anguish, his music teems with hope. (Angie Wang/The New York Times)