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Because that moment in The Hours puts “Beim Schlafengehen” to such eloquent use. Because Norman’s opulent voice is a better match for Strauss’ elemental orchestra than the Schwarzkopf lovers will ever admit. Because, in the dead of a Washington winter, it is right, and a good and joyful thing, to surrender to a song cycle about death—especially if one of the songs is titled “Spring.” —Trey Graham