Review
I recommend this show for Lucian Freud’s highly polished craftsmanship, but his wry game of psychological hide-and-seek is not all that satisfying.
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HBO’s McMillions is a fun and light documentary, but it doesn’t deliver more than the momentary satisfactions of fast food.
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Uplifting tunes for the aspiring curmudgeon you didn’t know you’d already become
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Vinicius Cantuária and band offered a night of close-listening interaction between musicians with ears wide open.
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There’s much to admire and appreciate about this MRT production; but the play’s lack of a solid dramatic spine is a crippling problem.
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Music lovers should seize this rare opportunity to see Beethoven’s first (1805) version of Fidelio, complete with a reconstruction of Florestan’s original aria.
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Given Dickens’ penny-a-word driven verbosity and his fondness for resolving every plot point with a flurry of coincidences, adapter McEleney seems undecided: is this history play a tragedy or a farce?
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At 70, Marcia Ball is a non-stop pro, particularly at pacing. Early barn burners gave way to the slow blues of “Just Kiss Me.”
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The relative infrequency of big Berio releases makes new recordings of his major works into significant, contemporary music events; Dennis Russell Davies’ new recording of Bernstein’s Mass is done in by lax vocals and a paucity of emotional consistency; Riccardo Muti and the Chicago Symphony Orchestra supply a great Shostakovich Thirteenth Symphony.
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Perhaps the book’s most impressive accomplishment is to make a kind of systematic case for Leonard Bernstein’s larger compositional output.
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Arts Feature: Best Movies (With Some Disappointments) of 2025