Review
Billie is a stunning new documentary about Billie Holiday, one of the greatest jazz vocalists of the 20th century.
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The show is made all the more powerful by the fact that we’ve now spent 12 months enduring Covid and four years of science denial and “alternative facts.”
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With the “Fireside Sessions,” Tedeschi and Trucks have found the perfect online format for showcasing their attention to detail, nuance, and craft.
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One disc pays expert homage to the late pianist Harold Mabern; pianist Yoko Miwa’s latest album supplies much appreciated exuberance.
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The VPO’s performance doesn’t want for energy or purpose because of the lack of a crowd. Rather, there seems to be an internal imperative to the ensemble’s music-making that isn’t always apparent at these events.
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Here’s yet one more fantastic thing about it no longer being 2020: it’s now the 50th anniversary of the excellent music that premiered in 1971.
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It is vital to take into account the pivotal role that money, politics, and racism play in the availability and efficacy of mental health services.
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One can only hope that Gail Samuel’s hiring means that the BSO’s welcome-but-fitful efforts at expanding its repertoire and engaging the community of late will become central to its post-pandemic mission.
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A Glitch in the Matrix is nowhere near as unhinged as a Dinesh D’Souza “documentary,” but it’s mentally taxing to watch so many people describe the real world like it’s Minecraft.
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You will come away impressed by Patricia Lockwood’s skillful literary play — enjoy an escape from your own Internet miasma, and then be affected by a powerful contrast to it.
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Arts Feature: Best Movies (With Some Disappointments) of 2025