Tom Huizenga

(Classical Detours meanders through stylistic byways, exploring new recordings from the fringes of classical music.)

One hundred years ago, a musical marvel was born. She grew up in a tiny hamlet in the North of England, but made a huge impression on the world of classical music.

"Unique" is an overused word, yet it truly fits the sound of Kathleen Ferrier's voice. If you've never heard it, prepare to be amazed — stop reading now and click on the link below.

When it comes to reliable lightning rods in classical music, it's hard to top Richard Wagner. The latest controversies center on the Metropolitan Opera's current staging of the composer's gargantuan Ring cycle, the set of four epic and mythical operas first mounted at Bayreuth in 1876, and now seen live at the Met together in a series.

Although it always seems fashionable to forecast the downfall of classical music, enterprising musicians both young and not so young continue to make deeply satisfying recordings. For this visit to weekends on All Things Considered, I was delighted to uncover the little known (at least in this country) Jorge Luis Prats, a terrifically talented Cuban pianist whose once uncertain career appears to be resurging — at 55, he has signed a handsome record deal. Then there's The Knights, a young chamber orchestra with a postmodern take on Schubert.

Talk Like An Opera Geek attempts to decode the intriguing and intimidating lexicon of the opera house.

Although a few radical composers had no use for opera in the mid-20th century (like Pierre Boulez, who infamously advocated blowing up the world's opera houses), the art form in Europe brushed itself off and began to thrive again after World War II.

Pity the poor percussionist in Mozart's day. He didn't have much to do in the orchestra, save for the occasional punctuating roll of the kettledrum (usually supporting a burst of brass) or the rare ping of a triangle.