Crossover recordings, once a low-risk, easy-profit cash cow that the big classical companies employed to subsidize more serious and expensive recording projects, have become a primary lifeline for those firms now that sales of classical recordings have flattened. But as the stakes grow higher and the new releases pile up, the debate about crossover flares anew. Is it a healthy means of bridging the gap between the classical and non-classical public? Or a crass ploy to kick new life into a sagging market? – Chicago Tribune