MusicalAmerica.com's international network of critics and reporters is among the mostly widely regarded in the performing arts world. Please see the Contact Us page if you want to write to any of the journalists.

Regular correspondents include:

	Nicholas Beard (New York) is a longtime contributor to Musical America and a former free-lance critic for the Atlanta Journal-Constitution.
	Anthony Brown (London) is a classical guitarist based in London who writes frequently on the arts.
	Frank Cadenhead(France) covers music for the American Record Guide and has written articles for MusicalAmerica.com since 1999.
	Keith Clarke (United Kingdom) has been UK correspondent for Musical America since 1999. He has served as managing editor of Rhinegold Publishing and editor of Music & Musicians magazine and written articles for the Times, Independent, Observer, and BBC Television, among others. He received the Classic FM Red Award “for outstanding contribution to classical music” and is an enthusiastic piano accompanist with truly appalling sight-reading skills.
	Fred Cohn (New York) is the editor of Opera America magazine, and is a longtime contributor to Opera News and Chamber Music.
	Wynne Delacoma (Chicago) is the former classical music critic for the Chicago Sun-Times and an adjunct faculty member at Northwestern University’s Medill School of Journalism. As a free-lance, she has worked with the Chicago Symphony Orchestra, Lyric Opera of Chicago, the Ravinia Festival, the Sun-Times, Musical America, and Chicago Classical Review.
	Susan Elliott (New York) has been the editor of MusicalAmerica.com since its inception in 1999. The former communications director for the Olympic Arts Festival in Atlanta, she has written about theater, dance, and music for numerous publications and is former classical music critic for The New York Post.
	John Fleming (Florida) writes for Classical Voice North America, Opera News, and other publications. For 22 years, he covered the Florida music scene as performing arts critic of the Tampa Bay Times.
	Richard S. Ginell (Los Angeles) is a music critic, program annotator, and regular contributor to the Los Angeles Times and the American Record Guide. He is the West Coast regional editor for Classical Voice North America.
	Taylor Grant (Michigan) curates news for Musical America and contributes to a variety of small outlets in the Midwest. A conservatory-trained oboist, she also runs marathons.
	Bruce Hodges (New York) is a regular reviewer for The Strad and serves as North American editor for Seen & Heard International. He has written articles for Playbill and Strings magazines and program notes for London's Southbank Centre. From 2007 to 2015, he wrote a monthly recordings column for The Juilliard Journal.
	James Imam (Milan) is a Milan-based arts journalist whose articles have appeared in The Financial Times, The Times, Musical America, and Opera magazine. He grew up in Manchester, U.K., read anthropology at Cambridge, and was an aspiring countertenor.
	Stuart Isacoff is an award-winning writer on musical subjects, as well as a pianist and composer in both the classical and jazz genres. His latest book is When the World Stopped to Listen: Van Cliburn’s Cold War Triumph and Its Aftermath (Knopf).
	Chava Pearl Lansky is a New York-based dance writer. She is an Assistant Editor at Pointe magazine, and has written for Playbill, Dance Magazine and Tablet, among others. She holds a BA in Dance from Barnard College.
	George Loomis (New York and Europe) writes about classical music for the Financial Times, The New York Times, Opera magazine, and other publications. He has a doctorate in music history from Yale.
	Timothy Mangan has covered classical music in Southern California for three decades for a variety of publications. He is winner of an ASCAP Deems Taylor Award and co-editor of Paul Bowles on Music, published by University of California Press.
	Thomas May (Seattle) writes about music and theater and is the English program editor for the Lucerne Festival. His work can be found in Gramophone,Symphony, The Seattle Times, and many other outlets, including the program books of the Metropolitan Opera, San Francisco Symphony, and Juilliard School.His books include Decoding Wagner and The John Adams Reader.
	Clive Paget (New York) is a freelance arts writer and critic, and editor-at-Large for Australia's Limelight Magazine. He was music theater consultant at London's National Theater from 2002 to 2007, and before that spent ten years as a theater and opera director.
	Maya Pritsker (New York and Moscow) was born and raised in Moscow and holds a master’s degree in musicology from the Gnessin’s Academy of Music. Since moving to the U.S. in 1991, she has been writing, lecturing, and producing radio and TV shows on the arts for both Russia and U.S. media outlets.
	Before moving to New York in 1972, John Rockwell (New York) worked as a music and dance critic in California. At The New York Times he was a classical music critic, reporter, and editor; chief rock critic; European cultural correspondent; editor of the Sunday Arts & Leisure section; arts columnist; and chief dance critic. He also directed the Lincoln Center Festival for its first four years.
	Sarah Shay (Denver) Sarah Shay is based in Denver, CO, and is an adjunct professor of music at the University of Denver and Colorado College.
	Rachel Straus (New York) is a full-time lecturer in dance history and liberal arts at The Juilliard School. A widely published dance journalist, she holds a MS from Columbia University’s Graduate School of Journalism, an MFA from Purchase College Conservatory of Dance, and is completing a PhD in Dance Studies from London’s University of Roehampton.
	Rudolph Tang (China) divides his time between China and Europe, writing about classical music and opera. He served as editor of Gramophone China and Symphony World from 2005-2013. His second book, The Many Faces of Musicians in China, was published by the Beijing Normal University Press in 2014.
	Mark Valencia (Western Europe) reports on opera and music for Musical America both in London and across Europe. He reviewed theater and opera for the London-based WhatsOnStage for more than a decade and served as opera editor for much of that time. Valencia has now switched his focus to freelance work for Opera magazine and other UK publications in addition to his work for Musical America.
	Brian Wise (New York) is a writer and editor who covers music and the arts. He is a regular contributor to BBC Music magazine and his work has also appeared in The New York Times, Slate, and Listen magazine.
	John Yohalem (New York) has been writing on opera, theater, music, movies, and books for more years than he cares to think about. He was editor and publisher of the late lamented Enchanté: The Journal for the Urbane Pagan and has contributed to the The New York Times Book Review, Fanfare, Parterre Box, Opera News, Seattle Weekly, and others.