Eurovision Results - Eurovision And the Marriage Equality Referendum

Eurovision 2015 Voting Simulation: Final Results. Eurovision 2015 Voting Simulation: Final Results. Eurovision 2015 Voting Simulation: Final Results (Part 1/4) Here is my Eurovision 2015 final.	Eurovision Song Contest 2015 - Semi-Final 2. Eurovision Song Contest 2015 - Semi-Final 2. Eurovision Song Contest 2015: SECOND SEMI-FINAL results. (Vienna, Austria) Wiener.	Eurovision 2013: Final Results - YouTube Eurovision 2013: Final Results - YouTube Here are the final results of the Eurovision Song Contest 2013! Congratulations to the winner.	TOP 10 | ESC FINAL RESULTS 2013 | Eurovision. TOP 10 | ESC FINAL RESULTS 2013 | Eurovision. This is our third Episode of Special Charts. This time we present the top 10 Songs of this years.
EUROVISION 2012 - All 12 Points - YouTube EUROVISION 2012 - All 12 Points - YouTube All 12 points in the Eurovision Song Contest 2012. Final results: 1. Sweden: Loreen - Euphoria.	Eurovision Song Contest 2015 Semi Final Results. Eurovision Song Contest 2015 Semi Final Results. Eurovision Song Contest 2015 Semi Final Results. 2015 Eurovision Song Contest: Semi.	OGAE VOTE (Eurovision 2014 Results) - YouTube OGAE VOTE (Eurovision 2014 Results) - YouTube +Scar Joseph Blood I know that lmao, just in the UK there isnt many Eurovision fans so to.	Results Eurovision 2013 Final ep2 - YouTube Results Eurovision 2013 Final ep2 - YouTube Published on May 18, 2013. �������������������� ���������������������� ( ���������������������� 2013 ����������) 18.05.2013 - ���������� 2. Results Eurovision.
Eurovision 1994 - Voting 5/5: We have our result. Eurovision 1994 - Voting 5/5: We have our result. The fifth and final part of the voting in the 1994 Eurovision Song Contest in Dublin , Ireland. At.	Eurovision Song Contest 2014 - Full Voting results. Eurovision Song Contest 2014 - Full Voting results. The full voting results with the winner performance. Please dont spoiler in the comments.	Eurovision 2015: Semi final 1 results, qualifiers. Eurovision 2015: Semi final 1 results, qualifiers. During semi final 1 of Eurovision 2015, ten countries ��� Albania, Armenia, Greece, Serbia.	Eurovision 2015 Offical Awards Results - YouTube Eurovision 2015 Offical Awards Results - YouTube Anticipated video came. I know some of you to criticize the video. But the video all rights.
Eurovision 2015 Ukraine (results in description. Eurovision 2015 Ukraine (results in description. Results : http://tummiweb.com/scorewiz/scoreboard/view/94183/eurovision-2015- ukraine.	Results Second Semi-Final Eurovision Song. Results Second Semi-Final Eurovision Song. Results Second Semi-Final Eurovision Song Contest 2014.	Eurovision 2013 Final Televoting Results - YouTube Eurovision 2013 Final Televoting Results - YouTube Televoting results of the Grand Final at the Eurovision Song Contest 2013 in Malm��.	Results first semi final Eurovision Song Contest. Results first semi final Eurovision Song Contest. Results semi final Eurovision Song Contest 2014.. (our eurovision song sucks so Im.

#Eurovision #ESC #Vienna2015 #BuildingBridges #GrandFinal #Sweden #SWE is the #winner! #Congratulation! Here are the #results! See you next year in Sweden! Thanks #Austria #AUT and #Vienna #Wien for this amazing show! #Eurovision #ESC #Vienna2015 #BuildingBridges #GrandFinal #Sweden #SWE is the #winner! #Congratulation! Here are the #results! See you next year in Sweden! Thanks #Austria #AUT and #Vienna #Wien for this amazing show! Courtesy: https://www.flickr.com/people/113516675@N04/	Patricia Kaas Patricia Kaas Courtesy: https://www.flickr.com/people/10655856@N04/	Eurovision 2014: Could This Be Our Year? | Rumpus PR Eurovision 2014: Could This Be Our Year? | Rumpus PR p018tq8c	memories of the Eighties memories of the Eighties Courtesy: https://www.flickr.com/people/20654194@N07/
Eurovision Song Contest - Wikipedia, the free encyclopedia Eurovision Song Contest - Wikipedia, the free encyclopedia Presentation of votes[edit]	That Was the Year That Was - 1974 That Was the Year That Was - 1974 Courtesy: https://www.flickr.com/people/20654194@N07/	Eurovision Song Contest 2010 Results Eurovision Song Contest 2010 Results Results of the contest is	Anti Fart, The Anti Fart, The Courtesy: https://www.flickr.com/people/56808581@N06/
EUROVISION 2012 - All 12 Points - YouTube EUROVISION 2012 - All 12 Points - YouTube EUROVISION 2012 - All 12	That Was the Year That Was - 1968 That Was the Year That Was - 1968 Courtesy: https://www.flickr.com/people/20654194@N07/	That Was the Year That Was - 1967 That Was the Year That Was - 1967 Courtesy: https://www.flickr.com/people/20654194@N07/	Results Part 1/6 - Final - Eurovision 2009 (HD) - YouTube Results Part 1/6 - Final - Eurovision 2009 (HD) - YouTube Results Part 1/6 - Final
Watching #Eurovision with all the attention and waiting for results. And you? 🎹 Whos your favorite? 🎶🎼 #albusseverus #nevacat #nevamasquerade #cat #thecatawards #catsagram #catstagram #instagood #kitten #kitty #kitten Watching #Eurovision with all the attention and waiting for results. And you? 🎹 Whos your favorite? 🎶🎼 #albusseverus #nevacat #nevamasquerade #cat #thecatawards #catsagram #catstagram #instagood #kitten #kitty #kitten Courtesy: https://www.flickr.com/people/125421155@N06/	That Was the Year That Was - 1972 That Was the Year That Was - 1972 Courtesy: https://www.flickr.com/people/20654194@N07/	EUROVISION RESULTS | KDrama Episode EUROVISION RESULTS | KDrama Episode Eurovision2012_results	That Was the Year That Was - 1976 That Was the Year That Was - 1976 Courtesy: https://www.flickr.com/people/20654194@N07/
GEORGIAN JURY DECLARED INVALID | OIKOTIMES.COM | VIENNA 2015. GEORGIAN JURY DECLARED INVALID | OIKOTIMES.COM | VIENNA 2015. COM | VIENNA 2015 EUROVISION	Deconstructing The Eurovision Results Through An Essential. Deconstructing The Eurovision Results Through An Essential. jko_scores_eurovision2013	That Was the Year That Was - 1970 That Was the Year That Was - 1970 Courtesy: https://www.flickr.com/people/20654194@N07/	Eurovision 2013 ��� Full Jury And Televoting Results Released. Eurovision 2013 ��� Full Jury And Televoting Results Released. votes of Eurovision 2013.
Eurovision Song Contest 2009 Results Eurovision Song Contest 2009 Results Results of the contest is	points | Eurovision by Jaz points | Eurovision by Jaz eurovision-2013-results	SCANDAL IS OVER EBU CONFIRMS RESULTS | OIKOTIMES.COM | VIENNA 2015. SCANDAL IS OVER EBU CONFIRMS RESULTS | OIKOTIMES.COM | VIENNA 2015. COM | VIENNA 2015 EUROVISION	Eurovision Song Contest 2012 Results Eurovision Song Contest 2012 Results Results of the contest is
That Was the Year That Was - 1979 That Was the Year That Was - 1979 Courtesy: https://www.flickr.com/people/20654194@N07/	#Eurovision #ESC #Vienna2015 #BuildingBridges #GrandFinal #Sweden #SWE is the #winner! #Congratulation! Here are the #results! See you next year in Sweden! Thanks #Austria #AUT and #Vienna #Wien for this amazing show! #Eurovision #ESC #Vienna2015 #BuildingBridges #GrandFinal #Sweden #SWE is the #winner! #Congratulation! Here are the #results! See you next year in Sweden! Thanks #Austria #AUT and #Vienna #Wien for this amazing show! Courtesy: https://www.flickr.com/people/113516675@N04/	That Was the Year That Was - 1981 That Was the Year That Was - 1981 Courtesy: https://www.flickr.com/people/20654194@N07/	That Was the Year That Was - 1977 That Was the Year That Was - 1977 Courtesy: https://www.flickr.com/people/20654194@N07/
Eurovision Song Contest 2014 - Your voting! [RESULTS!!] - YouTube Eurovision Song Contest 2014 - Your voting! [RESULTS!!] - YouTube Eurovision Song Contest 2014	Eurovision Song Contest 2004 Results Eurovision Song Contest 2004 Results finalist in Eurovision.	Eurovision Song Contest 2003 Results Eurovision Song Contest 2003 Results Results of the contest is	That Was the Year That Was - 1973 That Was the Year That Was - 1973 Courtesy: https://www.flickr.com/people/20654194@N07/

Eurovision 2015: Results of Semifinal 1 | The Eurovision.

Eurovision 2015 ��� Tonight we finally saw the first semifinal, with 16 entries participating and 20 countries voting all together chose the 10 finalists! Find out which they are! Comment, discuss and analyze with us! This was��.

Eurovision 2015 voting: How to vote, how the countries are ranked and who.

Youve watched all 40 countries sing their hearts out in the Eurovision grand final, and now its time to find out the winner. But its not quite as simple as that, because behind the scenes one of the most complex televoting operations in the world is.

‘Out of My Mouth Comes Unimpeachable Manly Truth’

What I learned from watching a week of Russian TV.. Gary Shteyngart article describes watching state-controlled Russian television for a week.

europrediction 2015: first semifinal results - Oikotimes

Here are the results of your predictions. Along with your online. OIKOTIMES.COM | VIENNA 2015 EUROVISION SONG CONTEST. 1 Comment on EUROPREDICTION 2015: FIRST SEMIFINAL RESULTS. Nash Raelaina��.

Eurovision And the Marriage Equality Referendum

A gathering is planned at Flanagans Irish Pub in Vienna on Saturday to watch the referendum results come in. How will these Eurovision fans feel if the result is a Yes? ���We would be euphoric ��� a Yes vote and Eurovision all in one day!��� says Furlong.

Your Monday Briefing

What you need to know to start your Monday: voting in India and Ukraine, severe weather in the Rockies, and the Washington monument reopens.

N.B.C. Official Wants Europe To Exchange News Programs

American television audiences may soon be able to see how foreign TV stations--possibly including those in the Soviet Union--cover and interpret news stories breaking in this country.. M Bookspan to leave as program dir, remains consultant; R Sherman succeeds as dir

Eurovision 2015 semi-final 2: UK voting, the bookies favourite and 7 reasons.

For the first time in history Australia will be competing in the Eurovision Song Contest. The gesture is in recognition of the countrys continued support over the past 60 years. History will be made tonight when the Aussies have their say on the.

Fringe Festival in Review: Dogs

Reviews of shows from the New York International Fringe Festival will appear on ArtsBeat through the festivals close on Aug. 26. For more information, go to fringenyc.org. Aha! The choreography is intentionally clunky. The program notes say so.. Anita Gates reviews TheaterCan production of Ido Bornsteins play Dogs, directed by Shlomo Plessner at the New Ohio Theater as part of the New York International Fringe Festival. Photo (M)

Eurovision 2015: The countries that hate Britains entries so much they ALWAYS.

Montenegro are less likely to vote for the UK in Eurovision than any other nation according to past results, the Mirror can reveal. The Balkan country have had the opportunity to vote for the UKs Eurovision entry on six occasions since the competition.

Keeping Things Artful While Picking Up the Tempo

Sigur Ros’s engrossing and energetic fifth full-length album conveys a sense of something new, at least in the context of the band’s nearly 15-year career.

Eurovision 2015 semi-final 2 results: Ireland kicked out of song contest

Irelands luck in the Eurovision Song Contest, which has seen it win more times than any other nations, seemed to have ended as it has not qualified for the final. Molly Sterling, who at 17 is the contests youngest ever entrant, represented her.

Finland and Denmark out of Eurovision 2015

Last night the first Eurovision Song Contest semi-final had a shock result as both Finland and Denmark failed to make it through to this years grand final. Denmark has a good track record in the competition, having appeared in the top five 14 times.

A Fine, Funny, Alive, Charming La Cenerentola

ONCE, more than a dozen years ago while traveling through Switzerland, I ended a hard day of hitchhiking, unethically enough, in a delightfully burgerliche hotel in Fribourg.

Eurovision 2015: Italy Won the Televoting! | The Eurovision.

Eurovision 2015 ��� With the Swedish win being still celebrated, the full split results have been released, for both the two semifinals and the final. Well make articles as we analyze them: first up, the shock reveal that Italy won��.

Results: How Did Your Top 10 Match the Actual Top 10.

Results - Yesterday we asked you who you thought would make the Top 10 of the Eurovision Song Contest 2015. The results are in and now we know the actual Top 10 of the year. How did they compare? Well, you had the��.

Eurovision 2015 semi-final one results: Favourites Estonia and Russia go.

. to Oddschecker, Stamenov is now sixth favourite to win having been miles off the front-runners before the semi final. Russia and Estonia, who both went through easily, are slightly ahead of Serbia, with Sweden still the favourite to claim.

Israels Golden Boy performs at Eurovision song contest in Vienna

Israeli singer Nadav Guedj, only 16 years old, performed his song Golden Boy at the Eurovision Song Contest finals in Vienna on Saturday night, making him the first Israeli representative in five years to perform in the finals. Follow Ynetnews on.

Nigella Lawson will announce UK results for Eurovision.

Nigella Lawson will announce UK results for EurovisionSong Contest. The TV chef Nigella Lawson confirmed on Twitter she will reading the voting results for the UK during the final on Saturday night. She wrote: ���Yes, its true.

Eurovision 2015: Check Out the Semifinals Results | The.

Eurovision 2015 ��� With the Swedish win being still celebrated, the full split results have been released, for both the two semifinals and the final. Well make an article once all points are counted to see the split results, but for��.

Eurovision 2015: Graham Norton returns with another cutting commentary - his.

Nina Sublatti performing Warrior for Georgia at Eurovision. Now theres a shock, no Eiffel Tower. She could be anywhere! - Graham mocks Frances lack of trademark landmark in the background as they deliver their results. Its like a bit of.

Eurovision 2015: Nigella Lawson excites the WORLD as she announces results.

She was very well received on Twitter with users saying she should have been on the show longer. The top scorer from the UK was wonderful eventual winners, Sweden, Mans Zelmerlow certainly proved popular with the Brits. Our fellow Commonwealth .

Radio-TV: Alert C.B.S.; Scores Beat on Harrimans Concession and Is First With Coronation Films

TELEVISION and radio stations canceled normal schedules last night for extensive coverage of the election returns.. J Gould on CBS kinescope

Eurovision 2015 votes DISQUALIFIED: Montenegro and Macedonias results.

Montengro and Macedonias voting results have been disqualified after it was discovered the two countries used votes from the televoting to account for 100% of the countrys votes, rather than 50% with 50% coming from a jury, as is required. The.

Eurovision Song Contest: Semi Final 2 results | TV Tonight

The final ten countries have now qualified for the Eurovision Song Contest Final as a result of the Second Semi Final taking place in Vienna earlier this morning (Australian time). The lucky ten are Lithuania, Poland, Slovenia,��.

Eurovision Semi-Final #1: The Shocking and Somewhat.

The Independent ��� Eurovision 2015 semi-final one results: Favourites Estonia and Russia go through, with Serbia and Belgium impressing. Blogger0 Stumble0 Tumblr0 Email0 Reddit0 Share0 Share0 Share0 Share0 Share0��.

Eurovision Song Contest: Semi Final 1 results | TV Tonight

Ten more countries have qualified for the Eurovision Song Contest Final as a result of the First Semi Final taking place in Vienna earlier this morning (Australian time). The lucky ten are Albania, Armenia, Belgium, Estonia,��.

Eurovision 2015 favourite: Russia: beautiful songstress Polina Gagarina

. could just steal the rug from under the feet of the previous favourites. Good grief. Despite Russia often losing out in the votes in recent years because of various human rights concerns, are we heading to Sochi next year? ��� Eurovision 2015.

Eurovision 2015 full results and 5 other things we learned

While there are only six people allowed on stage in a Eurovision performance, French singer Lisa Angell and Swedish winner M��ns Zelmerl��w both performed with a full entourage, with the help of nifty computer wizardry. This technique worked well for .

Eurovision Odds: Russia and Serbia improve after semi final

The pressure has therefore been put on Sweden, Italy and Australia, who have all seen their odds drift as a result of Polinas momentum. That could still all change on Thursday after Mans Zelmerlows performance in the��.

Ireland didnt make it through to the Eurovision final

Should we enter Dustin into the Eurovision Song Contest again? Poll Results: Yes. Quick. Do it now. You cant be serious. Have we actually not entered My Lovely Horse yet? Vote. More from this evening: 13 most important moments from the second Eurovision semi-final >. Explainer: Everything you wanted to know about this years Eurovision (but were afraid to ask) >. Get breaking news from TheJournal.ie via Facebook. Just click Like.

Eurovision 2015: who to look out for in the semi-finals and.

Australian soul, Swedish techno, Italian romance and Finnish punk: a selection of Electro Velvets biggest competition as the semi-finals for the 60th edition of the Eurovision Song Contest begin.

Italy: The Symphony Front

LEAD: ITALY HAS PRODUCED MORE THAN its share of important composers, conductors and instrumentalists in this century, but it has not been renowned for the excellence of its symphony orchestras. The reason no longer lies, as it did for two centuries, in operas predominance as public entertainment. Recent generations of Italians, like their counterparts elsewhere, have been raised on movies and television, and for most of them concert music as well as opera now count as Culture with a capital

Eurovision 2015: Results of Semifinal 2 | The Eurovision.

Eurovision 2015 ��� Tonight we finally saw the second semifinal, with 17 entries participating and 21 countries voting all together chose the 10 finalists! Find out which they are! Comment, discuss and analyze with us! This was��.

Girls Keeping It Real, and Not So

The white female performers Karmin and Kitty Pryde are taking on hip-hop in different ways.. Jon Caramanica compares the musical styles of white female rappers Amy Heidemann, the singer from pop duo Karmin, and Kitty Pryde.

Eurovision 2015 final: Romanias act spurs flurry of look-a-like tweets

Instead social network users erupted into a flurry of comments about who the act reminded them of. Voltaj, who sang All Over Again live in Vienna, drew a number of look-a-like comparisons after he completed his set on stage. The most popular.

Eurovision 2015: Press Voting Open. First results | The.

Eurovision 2015 - The first round of voting has started today within the press centre. Fans and Press have been asked to select ten songs from each semi they feel will qualify to the final and there are some surprises here for��.

THE LISTINGS | MAY 4 - MAY 10

Selective Listings by critics of The New York Times of new and noteworthy cultural events in the New York metropolitan region this week. * denotes a highly recommended film, concert, show or exhibition. Theater Approximate running times are in parentheses. Theaters are in Manhattan unless otherwise noted. Full reviews of current shows, additional listings, show times and tickets: nytimes.com/theater. Previews and Openings DIXIES TUPPERWARE PARTY In previews; opens on Thursday. Dixie Longate has left her Alabama trailer park to sell Tupperware in New York in this irreverent comedy (1:15). Ars Nova, 511 West 54th Street, Clinton, (212) 868-4444. DEUCE In previews; opens on Sunday. The grandes dames Angela Lansbury and Marian Seldes play retired tennis players in this new Terrence McNally comedy. Michael Blakemore directs (1:45). Music Box Theater, 239 West 45th Street, (212) 239-6200. GASLIGHT Previews start on Wednesday. Opens on May 17. The always fascinating Brian Murray stars in Patrick Hamiltons thriller about a man who drives his wife insane (2:00). Irish Repertory Theater, 132 West 22nd Street, Chelsea, (212) 727-2737. MEMORY Previews start tomorrow. Opens on Thursday. Part of the increasingly essential Brits Off Broadway festival, a new play by Jonathan Lichtenstein (The Pull of Negative Gravity), about the way people choose to remember events, reveals how the Holocaust still haunts the present. Terry Hands directs (1:30). 59E59 Theaters, 59 East 59th Street, (212) 279-4200. 110 IN THE SHADE In previews; opens on Wednesday. Audra McDonald stars in the Roundabouts revival of the musical version of N. Richard Nashs Rainmaker. Studio 54, 254 West 54th Street, (212) 719-1300. PASSING STRANGE In previews; opens on May 14. The Joes Pub veteran and pop singer Stew tries his hand at musical theater, with a rock-theme score and a story about the journey of a black bohemian (2:30). Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555. RADIO GOLF In previews; opens on Tuesday. The last play in August Wilsons cycle is set in 1997 and centers on the vital question of what will be done with the fabled Aunt Esthers house. Tonya Pinkins (Caroline, or Change) stars (2:30). Cort Theater, 138 West 48th Street, (212) 239-6200. Broadway A CHORUS LINE If you want to know why this show was such a big deal when it opened 31 years ago, you need only experience the thrilling first five minutes of this revival. Otherwise, this archivally exact production, directed by Bob Avian, feels like a vintage car that has been taken out of the garage, polished up and sent on the road once again (2:00). Schoenfeld Theater, 236 West 45th Street, (212) 239-6200. (Ben Brantley) * THE COAST OF UTOPIA Lincoln Center Theaters brave, gorgeous, sprawling and ultimately exhilarating production of Tom Stoppards trilogy about intellectuals errant in 19th-century Russia. A testament to the seductive powers of narrative theater, directed with hot and cool canniness by Jack OBrien and featuring a starry cast (Brian F. OByrne, Jennifer Ehle, Martha Plimpton, Josh Hamilton and Ethan Hawke, among others) in a tasty assortment of roles. Vivian Beaumont Theater, 150 West 65th Street, Lincoln Center, (212) 239-6200. (Brantley) * COMPANY Fire, beckoning and dangerous, flickers beneath the frost of John Doyles elegant, unexpectedly stirring revival of Stephen Sondheim and George Furths era-defining musical from 1970, starring a compellingly understated Raúl Esparza. Like Mr. Doyles Sweeney Todd, this production finds new clarity of feeling in Sondheim by melding the roles of performers and musicians (2:20). Barrymore Theater, 243 West 47th Street, (212) 239-6200. (Brantley) CORAM BOY Set in 18th-century England, this rollicking melodrama about imperiled orphans is big and broad but not particularly deep. With a cast of 40, an orchestra in the pit and bursts of choral music (Handel, mostly) decorating the proceedings, it is tastefully splashy and certainly impressive, but less emotionally engaging than you might hope (2:30). Imperial Theater, 249 West 45th Street, (212) 239-6200. (Charles Isherwood) CURTAINS This musical comedy about a musical-comedy murder -- featuring songs by John Kander and Fred Ebb and a book by Rupert Holmes -- lies on the stage like a promisingly gaudy string of firecrackers, waiting in vain for a match. The good news is that David Hyde Pierce, playing a diffident Boston detective, steps into full-fledged Broadway stardom. Scott Ellis directs a talent-packed cast that includes Debra Monk and Karen Ziemba. (2:30). Al Hirschfeld Theater, 302 West 45th Street, Clinton, (212) 239-6200. (Brantley) * FROST/NIXON Frank Langella turns in a truly titanic performance as Richard M. Nixon in Peter Morgans briskly entertaining, if all-too-tidy, play about the former presidents annihilating television interviews with the British talk show host David Frost (the excellent Michael Sheen). Michael Grandage directs with the momentum of a ticking-bomb thriller and the zing of a boulevard comedy (1:40). Jacobs Theater, 242 West 45th Street, (212) 239-6200. (Brantley) * GREY GARDENS Christine Ebersole is absolutely glorious as the middle-aged, time-warped debutante called Little Edie Beale in this uneven musical adaptation of the notorious 1975 documentary of the same title. She and the wonderful Mary Louise Wilson (as her bedridden mother), in the performances of their careers, make Grey Gardens an experience no passionate theatergoer should miss (2:40). Walter Kerr Theater, 219 West 48th Street, (212) 239-6200. (Brantley) INHERIT THE WIND Doug Hughess wooden revival of this worthy war horse, based on the Scopes monkey trial of 1925, never musters much more velocity than a drugstore fan. Be grateful that the cast includes Christopher Plummer, in savory form as a Will Rogers of jurisprudence. An oddly subdued Brian Dennehy plays his pompous adversary (2:00). Lyceum Theater, 149 West 45th Street, (212) 239-6200. (Brantley) * JOURNEYS END A splendid revival of R. C. Sherriffs 1928 drama of life in the trenches during World War I. Acutely staged (by David Grindley) and acted by a fine ensemble led by Hugh Dancy and Boyd Gaines, this production offers an exemplary presentation of that theatrical rarity, an uncompromising, clear-eyed play about war and the experience of day-to-day combat. An essential ticket (2:40). Belasco Theater, 111 West 44th Street, (212) 239-6200. (Brantley) LEGALLY BLONDE This nonstop sugar rush of a musical about a powder puff who finds her inner power-broker, based on the 2001 film, approximates the experience of eating a jumbo bag of Gummi Bears in one sitting. Flossing between songs is recommended (2:20). Palace Theater, 1564 Broadway, at 47th Street, (212) 307-4100. (Brantley) MARY POPPINS This handsome, homily-packed, mechanically ingenious and rather tedious musical, adapted from the P. L. Travers stories and the 1964 film, is ultimately less concerned with inexplicable magic than with practical psychology. Ashley Brown, who sings prettily as the family-mending nanny, looks like Joan Crawford trying to be nice and sounds like Dr. Phil. Directed by Richard Eyre and Matthew Bourne (2:30). New Amsterdam Theater, 214 West 42nd Street, (212) 307-4747. (Brantley) LES MISÉRABLES This premature revival, a slightly scaled-down version of the well-groomed behemoth that closed only three years ago, appears to be functioning in a state of mild sedation. Appealingly sung and freshly orchestrated, this fast-moving adaptation of Victor Hugos novel isnt sloppy or blurry. But its pulse rate stays well below normal (2:55). Broadhurst Theater, 235 West 44th Street, (212) 239-6200. (Brantley) A MOON FOR THE MISBEGOTTEN Kevin Spacey gives a bizarre, beat-the-clock performance, as lively as a frog on a hot plate, as James Tyrone in this off-kilter revival of Eugene ONeills last play. Mercifully, he does not block the view of Eve Best, who maps the contradictory levels of Tyrones strapping love interest with clarity and intelligence (2:50). Brooks Atkinson Theater, 256 West 47th Street, (212) 307-4100. (Brantley) THE PIRATE QUEEN How to river-dance your way to the bottom of the ocean, courtesy of the songwriters of Les Misérables (2:30). Hilton Theater, 213 West 42nd Street, (212) 307-4100. (Brantley) * SPRING AWAKENING Duncan Sheik and Steven Saters bold adaptation of the Frank Wedekind play is the freshest and most exciting new musical Broadway has seen in some time. Set in 19th-century Germany but with a ravishing rock score, it exposes the splintered emotional lives of adolescents just discovering the joys and sorrows of sex. Performed with brio by a great cast, with supple direction by Michael Mayer and inventive choreography by Bill T. Jones (2:00). Eugene ONeill Theater, 230 West 49th Street, (212) 239-6200. (Isherwood) * TALK RADIO The most lacerating portrait of a human meltdown this side of a Francis Bacon painting. Playing an abrasive radio talk show host with a God complex, the astounding Liev Schreiber seems to fill the air as inescapably as weather in Robert Fallss gut-grabbing revival of Eric Bogosians 1987 play (1:40). Longacre Theater, 220 West 48th Street, (212) 239-6200. (Brantley) TARZAN This writhing green blob with music, adapted by Disney Theatrical Productions from the 1999 animated film, has the feeling of a superdeluxe day care center, equipped with lots of bungee cords and karaoke synthesizers, where children can swing when they get tired of singing, and vice versa. The soda-pop score is by Phil Collins (2:30). Richard Rodgers Theater, 226 West 46th Street, (212) 307-4747. (Brantley) THE YEAR OF MAGICAL THINKING Joan Didions arresting but ultimately frustrating adaptation of her best-selling memoir about being blindsided by grief, starring Vanessa Redgrave. The tension between style and emotional content that made the book such a stunner does not translate to the stage. The substance here is in the silences, when the focus shifts from words to Ms. Redgraves wry, wounded face (1:40). Booth Theater, 222 West 45th Street, (212) 239-6200. (Brantley) Off Broadway ALL THE WRONG REASONS: A TRUE STORY OF NEO-NAZIS, DRUG SMUGGLING AND UNDYING LOVE John Fugelsangs amiable solo show mixes memoir and stand-up comedy in a tale of family, faith and Roman Catholic guilt. Slight but engaging (1:30). New York Theater Workshop, 79 East Fourth Street, East Village, (212) 460-5475. (Isherwood) AMERICAN FIESTA The economist, consultant, preacher and playwright Steven Tomlinson makes his New York stage debut with a one-man show about how it was that he came to collect Fiestaware, the colorful china of the Depression years, which he deploys as a metaphor for just about everything. An astute observer of consumer obsession, Mr. Tomlinson ultimately subordinates much of his clever writing to a tepid and trite political message: that American civic life is a fractured bowl that needs to be put back together right now. American Fiesta is also about gay marriage, eBay and neuroscience, which is to say that it is about much too much (1:30). Vineyard Theater, 108 East 15th Street, Flatiron district, (212) 353-0303. (Ginia Bellafante) BE A high-energy, low-content Israeli show that blends music, dance and sex appeal in the latest attempt to tap into the Stomp market (1:30). Union Square Theater, 100 East 17th Street, Flatiron district, (212) 307-4100. (Jason Zinoman) THE BIG VOICE: GOD OR MERMAN? Think of two gifted and smart gay men with years of life together deploying their considerable talents from the two pianos you happen to have in your living room. The result is a hilarious and very touching memoir of two decades of love and the funky glories of show business life (2:00). Actors Temple Theater, 339 West 47th Street, Clinton, (212) 239-6200. (Honor Moore) BILL W. AND DR. BOB This insightful new play about the founders of Alcoholics Anonymous subtly makes the claim that the recovery movement was born as a series of accidents. Patrick Husted is excellent as Bob Smith, Bill Wilsons partner in combating addictions (2:15). New World Stages, 340 West 50th Street, Clinton, (212) 239-6200. (Bellafante) BIOGRAPHY A revival of S. N. Behrmans hoary 1932 comedy about a society portraitist and the men who keep trying to reign her in feels slight as a needlepoint pillow. As the plays supposedly beguiling heroine, Marion Froude, Carolyn McCormick never beguiles (2:15). The Pearl Theater, 80 St. Marks Place, at First Avenue, East Village, (212) 598-9802. (Bellafante) * BLACKBIRD David Harrowers stunning new drama looks back at a sexual relationship -- between a 40-year-old man and a 12-year-old girl -- that transforms, cripples and paralyzes. Jeff Daniels and Alison Pill, both extraordinary, peel their characters down to their barest souls. Joe Mantello is the masterly director (1:30). Manhattan Theater Club at City Center Stage I, 131 West 55th Street, (212) 581-1212. (Brantley) THE FANTASTICKS A revival -- well, more like a resuscitation -- of the Little Musical That Wouldnt Die. This sweet-as-ever production of Tom Jones and Harvey Schmidts commedia-dellarte-style confection is most notable for Mr. Joness touching performance (under the pseudonym Thomas Bruce) as the Old Actor, a role he created when the show opened in 1960. Mr. Jones also directs (2:05). Snapple Theater Center, 210 West 50th Street, (212) 307-4100. (Brantley) * IN THE HEIGHTS Lin-Manuel Mirandas joyous songs paint a vibrant portrait of daily life in Washington Heights in this flawed but enjoyable show. Essentially a valentine to the barrio -- conflict of a violent or desperate kind is banished from the picture -- the musical contains a host of funny performances and brings the zesty sound of Latin pop to the stage. (2:10). 37 Arts, 450 West 37th Street, (212) 307-4100. (Isherwood) THE J.A.P. SHOW: JEWISH AMERICAN PRINCESSES OF COMEDY Laughs along with longueurs (1:30). Actors Temple Theater, 339 West 47th Street, Clinton, (212) 239-6200. (Lawrence Van Gelder) A JEW GROWS IN BROOKLYN You dont have to be Jewish or Brooklynish to empathize with Jake Ehrenreich, but in terms of fully appreciating his essentially one-man show, it probably helps. Especially the Catskills jokes (2:05). 37 Arts, 450 West 37th Street, (212) 560-8912. (Anita Gates) MY MOTHERS ITALIAN, MY FATHERS JEWISH AND IM IN THERAPY Steve Solomon does skillful impersonations in his one-man show, but some of his jokes are as old as the hills (1:30).Westside Theater Downstairs, 407 West 43rd Street, (212) 239-6200. (Gates) NO CHILD Teachers will love Nilaja Suns one-woman show about the challenges of teaching drama at Malcolm X High School (1:10). Barrow Street Theater, 27 Barrow Street, at Seventh Avenue South, West Village, (212) 239-6200. (Gates) * SPALDING GRAY: STORIES LEFT TO TELL A disarming collage of selections from the monologues and journals of Mr. Gray, the ultimate stand-up solipsist, who died in 2004. Directed by Lucy Sexton, and read by five performers, none of whom resemble Mr. Gray, with an affection that shrewdly stops short of hero worship (1:30). Minetta Lane Theater, 18 Minetta Lane, Greenwich Village, (212) 307-4100. (Brantley) Off Off Broadway DENIAL An engrossing and timely legal drama about a Holocaust denier being defended by a Jewish lawyer, this play examines the moral and ethical dilemma inherent in the First Amendment and asks how much sufferance can a free society give its crackpots and maintain its individual liberties (2:30). Metropolitan Playhouse, 220 East Fourth Street, East Village, (212) 995-5302. (Wilborn Hampton) REALISM and JUMP! The stately Jean Cocteau Repertory (now known as the Exchange) gets a hipster makeover with two foul-mouthed and aggressive new provocations from Britain (1:30 each). Kirk Theater, 420 West 42nd Street, Clinton, (212) 279-4200. (Zinoman) T J AND DAVE The comics T. J. Jagodowski and Dave Pasquesi miraculously improvise a one-hour play at every performance. This is an impressive feat of mental athletics, but the results are also observant, complex and frequently enormously funny (1:00). Barrow Street Theater, 27 Barrow Street, West Village, (212) 239-6200. (Gates) Long-Running Shows ALTAR BOYZ This sweetly satirical show about a Christian pop group made up of five potential Teen People cover boys is an enjoyable, silly diversion (1:30). New World Stages, 340 West 50th Street, Clinton, (212) 239-6200. (Isherwood) BEAUTY AND THE BEAST Cartoon made flesh, sort of (2:30). Lunt-Fontanne Theater, 205 West 46th Street, (212) 307-4747. (Brantley) CHICAGO Irrefutable proof that crime pays (2:25). Ambassador Theater, 219 West 49th Street, (212) 239-6200. (Brantley) THE COLOR PURPLE Singing CliffsNotes for Alice Walkers Pulitzer Prize-winning novel (2:40). Broadway Theater, 1681 Broadway, at 53rd Street, (212) 239-6200. (Brantley) THE DROWSY CHAPERONE A pasteboard pastiche of 1920s musicals, as remembered by a witty show queen(1:40). Marquis Theater, 1535 Broadway, at 45th Street, (212) 307-4100. (Brantley) FORBIDDEN BROADWAY: SPECIAL VICTIMS UNIT Often more entertaining than the real thing (1:45). 47th Street Theater, 304 West 47th Street, Clinton, (212) 239-6200. (Brantley) HAIRSPRAY Fizzy pop, cute kids, large man in a housedress (2:30). Neil Simon Theater, 250 West 52nd Street, (212) 307-4100. (Brantley) THE LION KING Disney on safari, where the big bucks roam (2:45). Minskoff Theater, 200 West 45th Street at Broadway, (212) 307-4100. (Brantley) MAMMA MIA! The jukebox that devoured Broadway (2:20). Cadillac Winter Garden Theater, 1634 Broadway, at 50th Street, (212) 239-6200. (Brantley) THE PHANTOM OF THE OPERA Who was that masked man, anyway? (2:30). Majestic Theater, 247 West 44th Street, (212) 239-6200. (Brantley) RENT East Village angst and love songs to die for (2:45). Nederlander Theater, 208 West 41st Street, (212) 307-4100. (Brantley) SPAMALOT A singing scrapbook for Monty Python fans (2:20). Shubert Theater, 225 West 44th Street, (212) 239-6200. (Brantley) THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE A Chorus Line with pimples (1:45). Circle in the Square, 254 West 50th Street, Manhattan, (212) 239-6200. (Isherwood) WICKED Oz revisited, with political corrections (2:45). Gershwin Theater, 222 West 51st Street, Manhattan, (212) 307-4100. (Brantley) Last Chance THE ACCOMPLICES Bernard Weinraub, a former reporter for The New York Times, has chosen a worthy subject for his first play: In 1940, the young Zionist Peter Bergson was determined to persuade the United States government to open its arms to Jewish refugees fleeing the Nazis. Unfortunately, this production takes a hagiographic approach to its protagonist, emphasizing his heroism at the expense of more complex characterization. (2:00). Acorn Theater, 410 West 42nd Street, Clinton, (212) 279-4200; closes tomorrow. (David Ng) ANNE OF GREEN GABLES The trick to refashioning beloved childrens books for the stage is to keep both the spirit and the story largely intact. In this, Gretchen Cryer and Nancy Ford -- a musical-theater partnership of five decades standing, who have moved from their hit Im Getting My Act Together to the American Girl demographic -- have largely succeeded. This breezy, upbeat musical avoids slickness and gets the job done, and is nicely cast into the bargain (1:30). The Lucille Lortel Theater, 121 Christopher Street, West Village, (212) 279-4200; closes tomorrow. (Anne Midgette) * APOSTASY Gino Dilorios fearless play about a dying white Jewish woman who falls under the spell of a black televangelist is pretty good; the acting that delivers it is terrific, especially Susan Greenhill as the woman, and Susan Louise OConnor as her daughter (2:00). Urban Stages, 259 West 30th Street, (212) 868-4444; closes on Sunday. (Neil Genzlinger) GUTENBERG! THE MUSICAL A very funny if not terribly original satire of musical theater features what must be the worst backers audition of all time (2:05). Actors Playhouse, 100 Seventh Avenue South, at Fourth Street, Greenwich Village, (212) 239-6200; closes on Sunday. (Zinoman) JANE EYRE Staged as a psychological drama, this new version of an oft-adapted classic is a shadowy, fluid, engaging production (2:45). Baruch Performing Arts Centers Nagelberg Theater, 55 Lexington Avenue, at 25th Street, (212) 279-4200; closes tomorrow. (Zinoman) HOWARD KATZ The subject of Patrick Marbers comedy of unhappiness about a rabid talent agent, starring a baleful Alfred Molina and directed by Doug Hughes, is nothing more nor less than your standard-issue midlife crisis. This familiar topic gets the better of all the talented people here trying to make it seem fresh (1:30). Laura Pels Theater, 111 West 46th Street, (212) 719-1300; closes on Sunday. (Brantley) THE VIEW FROM K STREET STEAK An attempt at political satire that misses with just about every shot, this play ends up being simply confusing and boring, neither funny nor timely (1:50). Altered Stages, 212 West 29th Street, Chelsea, (212) 352-3101; closes tomorrow. (Hampton) Movies Ratings and running times are in parentheses; foreign films have English subtitles. Full reviews of all current releases, movie trailers, show times and tickets: nytimes.com/movies. AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS (R, 87 minutes) Not as funny as the title or the Cartoon Network series on which its based. (A. O. Scott) BLADES OF GLORY (PG-13, 93 minutes) In this fast, light, frequently funny comedy about a male figure-skating team, Will Ferrell and Jon Heder stake an early claim to being the comedy couple of the year. (Stephen Holden) THE CONDEMNED (R, 100 minutes) This simple-minded vehicle for the wrestling star Steve Austin follows a bunch of muscle-bound lowlifes as they fight to the death for the benefit of an Internet reality show. Leaden and inept, the movie fails to deliver even the action goods, presenting every fight scene in such quaking, extreme close-up that its difficult to tell whos pummeling whom. Fortunately, the language of pain is universal. (Jeannette Catsoulis) * DIGGERS (R, 90 minutes) This minutely observed period piece, set in 1976, about clam diggers on the south shore of Long Island has the brave, mournful tone of a Springsteen song (My Hometown, say) set in Billy Joel territory. (Holden) DISTURBIA (PG-13, 104 minutes) A pleasant, scary, well-directed variation on the killer-next-door theme, with the engaging Shia LeBeouf as Kale, a young man who turns house arrest into an occasion for voyeurism and crime-fighting. (Scott) FRACTURE (R, 111 minutes) A glib entertainment that offers up the spectacle of that crafty scene-stealer Anthony Hopkins mixing it up with that equally cunning screen-nibbler Ryan Gosling. (Manohla Dargis) GRINDHOUSE (R, 180 minutes) A double feature, complete with fake previews for schlocky exploitation pictures, that pays nostalgic tribute to disreputable traditions of moviemaking and moviegoing. Robert Rodriguez contributes Planet Terror, a purposely incoherent zombie gross-out flick that flaunts is own badness the way Rose McGowan (as a go-go dancer named Cherry Darling) shows off her weaponized prosthetic leg. For his part, Quentin Tarantino, more of a connoisseur than his collaborator (and a much better filmmaker), turns out a brutal, talky and satisfying car-chase revenge movie in Death Proof, starring Kurt Russell. (Scott) * THE HOAX (R, 115 minutes) A first-rate performance by Richard Gere drives this true story of Clifford Irving (Mr. Gere), who claimed to be the authorized biographer of Howard Hughes. Shadowed by the paranoia of its period (the early 70s), this movie, crisply directed by Lasse Hallstrom from an excellent script by William Weaver, is less a morality play than an entertaining portrait of a literary gambler. (Scott) * HOT FUZZ (R, 121 minutes) A British parody of Hollywood-style action flicks from the wits behind Shaun of the Dead. Think of it as The Full Monty blown to smithereens. (Dargis) IN THE LAND OF WOMEN (PG-13, 98 minutes) This meek, mopey comedy is the film equivalent of a sensitive emo band with one foot in alternative rock and the other in the squishy pop mainstream. The movie would like to think of itself as a softer, fuzzier Garden State. (Holden) THE INVISIBLE (PG-13, 102 minutes) This supremely silly retread of the 2002 Swedish film Den Osynlige proves its tough to be in love and in limbo at one and the same time. When a rich-yet-troubled teenager (Justin Chatwin) crosses paths with a violently disturbed classmate (Margarita Levieva), we learn theres nothing quite like a near-death experience to repair those stubborn emotional wounds. (Catsoulis) KICKIN IT OLD SKOOL (PG-13, 107 minutes) Jamie Kennedy tries to lead a break-dancing revival, playing a man who was left in a coma by a break-dancing accident in 1986 and has only just now come out of it. Funny early, but grows less so, and the dancing sequences arent as exciting as they ought to be. (Neil Genzlinger) * KILLER OF SHEEP (No rating, 83 minutes) Largely hidden from view for three decades, Charles Burnetts lyrical film about a working-class family living in a broken-down home in a bombed-out stretch of Los Angeles is an American masterpiece, independent to the bone. (Dargis) LONELY HEARTS (No rating, 100 minutes) This beautifully photographed remake of Leonard Kastles 1970 cult B movie The Honeymoon Killers succeeds better than many modern crime dramas in balancing the philosophical with the visceral, although its villains dirty deeds still trump its deeper strain of melancholy. (Holden) NEXT (PG-13, 96 minutes) Nicolas Cage plays a guy who can see into the future in this crummy adaptation of a nifty Philip K. Dick story. Too bad Mr. Cage couldnt tap into those same powers to save himself from another bad role. (Dargis) PERFECT STRANGER (R, 109 minutes) There is enough of a grain of truth in this noirish, paranoid thriller set in the New York media world that even after it lurches from the farfetched into the preposterous, the movie leaves a clammy residue of unease. (Holden) * PRIVATE FEARS IN PUBLIC PLACES (No rating, 120 minutes, in French) A film from the venerable French auteur Alain Resnais about love and cinematic spaces, elegant camera moves and six heavenly bodies as seen through a mighty telescope. (Dargis) * RED ROAD (No rating, 113 minutes) Andrea Arnolds first feature falls into melodrama and implausibility at the end, but along the way it is a remarkably assured and complex piece of work, anchored by the directors formal control and by Jackie Dicks quietly heartbreaking performance as a Glasgow video-surveillance officer with an unhappy past. (Scott) SING NOW OR FOREVER HOLD YOUR PEACE (No rating, 94 minutes) A would-be Big Chill for 30-somethings, Sing Now concerns the 15-year reunion of a college a cappella group for a classmates wedding in the Hamptons, and its attendant midlife crises. But the ensemble cast is too unwieldy, and interesting characters are given short shrift. Only Molly Shannon, in a selfless, robust performance, registers amid the suds. (Andy Webster) SNOW CAKE (No rating, 112 minutes) Sigourney Weaver peels off layers of urbane sophistication to play a high-functioning autistic woman living in a rural Ontario town who intersects with an embittered Briton (Alan Rickman). Their technically accomplished performances partly camouflage the suds. (Holden) SOMETHING TO CHEER ABOUT (No rating, 64 minutes) Betsy Blankenbakers plodding but heartfelt documentary celebrates the career of Indianas Crispus Attucks Tigers, who, in 1955, became the first all-black high school basketball team to win a state championship. Interspersing grainy game film and interviews with original team members, like the N.B.A. legend Oscar Robertson and the former Harlem Globetrotter Hallie Bryant, the movie pays tribute to a time when basketball scholarships and N.B.A. opportunities were unknown. Back then, a players only opportunity was to make history. (Catsoulis) * SYNDROMES AND A CENTURY (No rating, 105 minutes, in Thai) Apichatpong Weerasethakul, a Thai director who has become a star of the international festival circuit, makes films that are difficult, abstract and mysterious in the best art-cinema tradition, but at the same time characterized by unusual warmth and generosity of spirit. Syndromes, suggested by the lives of the filmmakers parents and the music of Mozart, is a two-part invention on the themes of chance and longing, shot with an intoxicating mix of suavity and sensuality. (Scott) TA RA RUM PUM (No rating, 156 minutes, in English and Hindi) This Bollywood movie about a race car driver (the versatile Saif Ali Khan) takes place in New York, but that doesnt stop it from being a classic example of Bollywood family values. Here, all the citys a stage set, perfect for Fame meets West Side Story production numbers. (Rachel Saltz) * TRIAD ELECTION (No rating, 93 minutes, in Cantonese) The surfaces gleam as luxuriously in Johnnie Tos exemplary gangster thriller Triad Election as those in a similarly slicked-up Hollywood film, but the blood on the floor here seems stickier, more liable to stain. A brutal look at the shadows darkening the Hong Kong triads, the film picks up the narrative line first coiled and kinked in Mr. Tos companion thriller, Election. (Dargis) VACANCY (R, 80 minutes) This banal horror retread involves a couple of critters (Luke Wilson, Kate Beckinsale) flailing inside a sticky trap for what is, in effect, the big-screen equivalent of a roach motel. (Dargis) * THE VALET (PG-13, 85 minutes, in French) If you love to hate the superrich, this delectable comedy, in which the great French actor Daniel Auteuil portrays a piggy billionaire industrialist facing his comeuppance, is a sinfully delicious bonbon, a classic French farce with modern touches. (Holden) * YEAR OF THE DOG (PG-13, 97 minutes) Mike Whites touching comedy about a woman who loses a dog and finds herself is funny ha-ha but firmly in touch with its downer side, which means that its also funny in a kind of existential way. Molly Shannon stars alongside a menagerie of howling scene-stealers. (Dargis) ZOO (No rating, 76 minutes) Robinson Devors heavily reconstructed documentary is, to a large extent, about the rhetorical uses of beauty. It is, rather more coyly, also about a man who died after having sex with a stallion. (Dargis) Film Series and Revivals AN EVENING WITH ANDREAS HYKADE AND MARIUSZ WILCZYNSKI (Monday) This evening includes works by two leading contemporary animators, Andreas Hykade from Germany and Mariusz Wilczynski from Poland. The Runt, the concluding episode of Mr. Hykades trilogy of country films, will have its United States premiere; Mr. Wilczynskis latest work, Kizi Mizi -- which the director describes as a tough love story between a cat and a mouse -- will have its world premiere. Both animators will be on hand to discuss the works. Museum of Modern Art Roy and Niuta Titus Theaters, (212) 708-9400, moma.org; $10. (Dave Kehr) RADICAL SCAVENGER: THE FILMS OF EMILE DE ANTONIO (Today through Thursday) The director Emile de Antonio reinvented the art of the collage film in the documentaries he made from 1963 to 1989, the year of his death. He raided network news footage and archival sources to select sounds and images that he would then recombine into radical political statements. This series at the Anthology Film Archives begins tonight with a new print of Mr. de Antonios most celebrated and influential film, In the Year of the Pig (1968). A pointed assemblage of television reports about the Vietnam War, both abroad and at home, In the Year of the Pig was among the most widely seen protest films in the United States. Among the other titles: Rush to Judgment (1966), di Antonios critical analysis of the Warren Report (made with the conspiracy theorist Mark Lane); America Is Hard to See (1970), about the presidential campaign of Eugene McCarthy; and Millhouse: A White Comedy (1971), a comic portrait of Richard M. Nixon. Anthology Film Archives, 32 Second Avenue, at Second Street, East Village, (212) 505-5181, anthologyfilmarchives.org; $8. (Kehr) WILD AT HEART: BARRY GIFFORD (Tuesday) The novelist and screenwriter Barry Gifford will attend a screening of Wild at Heart, David Lynchs 1990 film adapted from Mr. Giffords novel about a pair of extremely star-crossed young lovers (Nicolas Cage and Laura Dern). This will be the rarely screened European version, which includes, if memory serves, a little extra gore than Americans were allowed to see in the R-rated film released in theaters here. BAMcinématek, BAM Rose Cinemas, 30 Lafayette Avenue, at Ashland Place, Fort Greene, Brooklyn, (718) 636-4100, bam.org; $10. (Kehr) Pop Full reviews of recent concerts: nytimes.com/music. AIR (Thursday) This French duo, whose every electronic note seems to drip with breathy, limply funky pop nostalgia, plays as part of David Bowies High Line Festival. At 8 p.m., Theater at Madison Square Garden, (212) 465-6741, thegarden.com or highlinefestival.com; $36 and $46. (Ben Sisario) * KAREN AKERS (Tonight and tomorrow night, and Tuesday through Thursday) The songs in Simply Styne, Ms. Akerss beautiful tribute to the composer Jule Styne, have been arranged into a touching, tongue-in-cheek cabaret answer to Scenes From a Marriage. The pianist Don Rebic is her witty partner in deconstruction. (Through May 12.) At 9, with additional shows tonight and tomorrow night at 11:30, Oak Room at the Algonquin Hotel, 59 West 44th Street, Manhattan, (212) 419-9331, algonquinhotel.com; $60 cover; $65 dinner charge at 9; $25 minimum at 11:30. (Stephen Holden) ANTIBALAS (Tomorrow) This Brooklyn collective worships the musky Afro-funk of Fela Kuti, and can produce a credible facsimile of it, thickly textured with reverb-heavy guitars and brawny horns. Its latest, Security (Anti-), also follows Felas other big legacy: no-holds-barred denunciations of political oppression and corruption. At 9 p.m., Fillmore New York at Irving Plaza, 17 Irving Place, at 15th Street, Manhattan, (212) 777-6800; $20. (Sisario) * ARCADE FIRE, THE NATIONAL (Monday through Wednesday) Arcade Fire became king of the indie-rock mountain with a lovable, artsy eccentricity and a disarming emotional clarity. Its new album, Neon Bible (Merge), is dark and preoccupied but satisfyingly cathartic. The National, from Brooklyn, plays flawless, wilting ballads threaded with subtly brilliant guitar playing by Bryce Dessner and the dry, cynical baritone of Matt Berninger. Monday and Tuesday at 7 p.m., United Palace Theater, 4140 Broadway, at 175th Street, Washington Heights, (212) 307-7171, bowerypresents.com; Wednesday at 8 p.m., Radio City Music Hall, (212) 307-7171, radiocity.com or highlinefestival.com; sold out. (Sisario) THE BAMBOOZLE (Tomorrow and Sunday) The Web site for this lollapalooza in the Giants Stadium parking lot has a faux radio station, complete with obnoxious promo spots crackling with pyrotechnic sound effects. Its unfortunately appropriate for the Bamboozle, a roll call of more than 100 young hard-rock bands that, once you get past the headliners, sound utterly interchangeable and predictable -- the kind that make you want to change the station. My Chemical Romance and Muse headline tomorrow, and Linkin Park on Sunday. A few highlights are Brand New, Taking Back Sunday, Killswitch Engage, Weird Al Yankovic, Captured by Robots, Lordi, Andrew W. K., and Rob Base and DJ E-Z Rock (It Takes Two). At noon, Meadowlands Sports Complex, Routes 3 and 120, East Rutherford, N.J., (201) 935-3900, thebamboozle.com; $35 each day. (Sisario) * BEIRUT, FINAL FANTASY (Sunday through Tuesday) A year ago Zach Condon, a 19-year-old from Albuquerque who records as Beirut, released Gulag Orkestar (Ba Da Bing), an album of somber, sepia-toned marches with touches of Balkan brass. He quickly became a celebrity among music bloggers, which means that by now Beirut has become a kind of blog classic rock. As Final Fantasy, Owen Pallett creates nervous universes in miniature, looping ribbons of violin around his quavering voice. At 7:30 p.m., Bowery Ballroom, 6 Delancey Street, near the Bowery, Lower East Side, (212) 533-2111, boweryballroom.com; sold out. (Sisario) * BJORK (Tomorrow and Tuesday) Its been a long time since Bjorks combination of wailing indie-rock, eroticized electronica and use of random musical props -- Inuit choirs, beatboxers, African kora players -- has been truly avant-garde, or even surprising. But her latest album, Volta (Elektra), still sounds fresh and energized, with every sound becoming her exotic plaything. Tomorrow at 8 p.m., with Konono No. 1, a Congolese band whose polyrhythmic bubblings are made with amplified thumb pianos, at the United Palace Theater, 4140 Broadway, at 175th Street, Washington Heights, (212) 307-7171; Tuesday at 8 p.m., Apollo Theater, 253 West 125th Street, Harlem, (212) 307-7171, apollotheater.com; both sold out. Konono No. 1 also plays tomorrow night at the Bowery Ballroom, 6 Delancey Street, near the Bowery, Lower East Side, (212) 533-2111, boweryballroom.com; $23. The doors open at 8, and Magik Markers opens. (Sisario) * BLONDE REDHEAD (Tuesday) Its days of spindly, atonal guitar webs apparently behind it, Blonde Redhead has for the last few years been making lusher, more cottony music, as if finally realizing that its amplifiers have reverb buttons. Its latest, 23 (4AD), is a gorgeous trip through clouds of overdriven guitar and heavenly vocals, recalling those kings of overdriven guitar and heavenly vocals, My Bloody Valentine. With Fields. At 8 p.m., Webster Hall, 125 East 11th Street, East Village, (212) 533-2111, bowerypresents.com; sold out. (Sisario) BOWLING FOR SOUP (Wednesday) When the venerable British singer and guitarist Richard Thompson put together his album 1,000 Years of Popular Music, his choices included Sumer Is Icumen In, Renaissance ballads and Cole Porters Night and Day, as well as 1985, a gag catalog of 80s nostalgia by this otherwise undistinguished Texas rock band. (When did Motley Crue become classic rock?/And when did Ozzy become an actor?) Its a fun karaoke number, though Mr. Thompson may have been making another point: if you were really going to preserve the most representative songs of our culture, youd have to include some 1985s, right? At 8 p.m., Fillmore New York at Irving Plaza, 17 Irving Place, at 15th Street, Manhattan, (212) 777-6800; $17.50 in advance, $20 at the door. (Sisario) BRIGHTBLACK MORNING LIGHT (Tomorrow and Sunday) Though nominally part of the current psych-folk revival, Brightblack Morning Light has a sound that is harder to place, and therefore more intriguing: an electric hum; warbling keyboards that evoke damp funk; and ecstatic, breathy chants, like the rituals of a secret forest cult. The songs on its most recent album were written, the band has said, while living in tents in Northern California. Also on the bill: Daniel A.I.U. Belteshazzar-Higgs with Chiara Giovando. Tomorrow at 10 p.m., Mercury Lounge, 217 East Houston Street, at Ludlow Street, Lower East Side, (212) 260-4700, mercuryloungenyc.com; Sunday at 9 p.m., Southpaw, 125 Fifth Avenue, near Sterling Place, Park Slope, Brooklyn, (718) 230-0236, spsounds.com; $13 in advance; $15 at the door. (Sisario) JIM CAMPILONGO, MIKE VIOLA (Monday) Just another night at the Living Room, a plain Lower East Side cabaret that puts on one guitar-cradling singer-songwriter after another, some of them world-class. Mr. Campilongo is a well-traveled guitar whiz who plays with Norah Jones in her country band, the Little Willies; his Electric Trio has had a Monday-night residency forever. Mr. Viola, jumping from piano to guitar, sings strident power-pop with some jagged wit. Also on the bill are Kelly Jones and Phillip La Rue. At 8 p.m., 154 Ludlow Street, near Stanton Street, (212) 533-7235, livingroomny.com; no cover. (Sisario) CORNELIUS (Thursday) Keigo Oyamada, a Japanese musician who records as Cornelius (he took his name after Roddy McDowalls character in Planet of the Apes), is a witty if cold conceptualist, toying with minimal electronics and off-kilter rhythms that sound like the stimuli of some psychological lab experiment. At 7 p.m., Webster Hall, 125 East 11th Street, East Village, (212) 533-2111, bowerypresents.com; $25. (Sisario) BEN GIBBARD (Tuesday) The singer of Death Cab for Cutie, the indie-rock giants whose spectrum of mood runs from lovelorn and aloof to wistful and aloof, is on a rare solo tour. With David Bazan and Johnathan Rice. At 7:30 p.m., Town Hall, 123 West 43rd Street, Manhattan, (212) 840-2824, the-townhall-nyc.org or bowerypresents.com; sold out. (Sisario) KIKI AND HERB (Sunday) A few years ago this brilliantly perverse cabaret duo played their farewell show at Carnegie Hall. Then came a run on Broadway. And some late-night gigs at Joes Pub. And the inimitable Christmas show. (Highlight: a medley of Smells Like Teen Spirit and Frosty the Snowman.) Kiki and Herb cant stay away from the stage, and New York is the better for it. At 11:30 p.m., Joes Pub, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, joespub.com; $20. (Sisario) * TED LEO AND THE PHARMACISTS (Tomorrow) As stalwart as you can be in indie rock, Mr. Leo has made a long and admirable career matching the musical fury of Clash-like punk with impassioned, highly personal social commentary. His new album, Life Among the Living (Touch and Go), is a reminder that he is one of the best and most uncompromising songwriters in the game. With Love of Diagrams. At 6:30 p.m., Webster Hall, 125 East 11th Street, East Village, (212) 533-2111, bowerypresents.com; $19. (Sisario) MAGIC NUMBERS (Wednesday) Perfectly jangly bubblegum harmonies of mid-60s vintage get a slight melancholy twist with this British foursome, made up of brother-and-sister pairs. With All Smiles. At 7 p.m., Hiro Ballroom, 371 West 16th Street, Chelsea, (212) 533-2111, bowerypresents.com; $25. (Sisario) * MARTIRIO (Tuesday and Wednesday) This Spanish singer, long a curious mingler of pop, jazz and flamenco, recorded her new album, Primavera en Nueva York (Calle 54), in New York with a jazz band, its boleros reinterpreted as a languorous, savory jazz suite. She makes her New York debut at Joes Pub. At 7 and 9:30 p.m., 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, joespub.com; $30. (Sisario) MOE (Tonight through Sunday) One chord is all Moe needs to start one of its nimble, quick-fingered jams. Its music starts with the Grateful Dead-Allman Brothers hybrids that most jam bands use, and from there it takes off toward Southern rock, spacey interludes or the borderline of funk. At 9, Highline Ballroom, 431 West 16th Street, Chelsea, (212) 414-5994, highlineballroom.com; sold out. (Jon Pareles) NEKROMANTIX (Sunday) Is it Halloween already? This Copenhagen trio follows the Munsters-as-punk lead of the Misfits and the Cramps with a full sideshow of warped rockabilly, B movie titles (new album: Life Is a Grave & I Dig It!) and, most important, ghoulish stacked hairdos. With Heart Attacks, Westbound Train and Orange. At 8 p.m., Blender Theater at Gramercy, 127 East 23rd Street, Manhattan, (212) 307-7171; $12.50. (Sisario) JENNIFER OCONNOR (Wednesday) Ms. OConnors portraits of the lovelorn and depressed, sung over light strums of guitar and with the guileless vulnerability of a 2 a.m. phone confession, are dry but not unsympathetic: Maybe shes on her lunch break thinking of you. She has a Wednesday residency this month at the Living Room. At 11 p.m., 154 Ludlow Street, near Stanton Street, Lower East Side, (212) 533-7235, livingroomny.com; $8. (Sisario) * JOHN PIZZARELLI AND JESSICA MOLASKEY (Tonight and tomorrow night, and Tuesday through Thursday) These married musicians have been called the Nick and Nora of cabaret, a sobriquet that only begins to describe their upbeat sophistication. They fuse two distantly related musical worlds into a larger whole in which Stephen Sondheim, Dave Frishberg, Paul Simon, and Lambert, Hendricks & Ross join hands. (Through May 26.) At 8:45, with additional shows tonight and tomorrow night at 10:45, Café Carlyle, at the Carlyle Hotel, 35 East 76th Street, Manhattan, (212) 744-1600, thecarlyle.com; $75 and $125 Tuesday through Thursday; $85 tonight and tomorrow. (Holden) DULCE PONTES (Thursday) This Portuguese singers champions (or at least her publicists) call her the successor to the fado queen Amália Rodrigues. Not quite: Ms. Pontess style has leaned pretty far toward the soapy and homogenized glitz you can hear every year at the Eurovision festival. (Ms. Pontes was a competitor in 1991.) But she has a strong, fleshy alto, and for this Carnegie Hall appearance will sing traditional songs from her lovely new album, O Coração Tem Três Portas, with a small acoustic ensemble. At 8 p.m., (212) 247-7800, carnegiehall.org; $23 to $72. (Sisario) ANNIE ROSS (Tuesday) When this jazz legend barks out I Got Rhythm, she turns this great Gershwin standard into a hipsters credo. If youve got as much rhythm in your body and music in your head as Ms. Ross does at 76, who indeed could ask for anything more? At 7 p.m., Metropolitan Room, 34 West 22nd Street, Flatiron district, (212) 206-0440, metropolitanroom.com; $25 cover, two-drink minimum. (Holden) * SHIVKUMAR SHARMA AND ZAKIR HUSSAIN (Tomorrow) Shivkumar Sharma plays the santur, Indias hammered dulcimer, and has transformed it from an accompanying instrument into a solo instrument that brings shimmering resonances to the classical Indian raga repertory. He will be accompanied by Zakir Hussain on tabla, who can supply subtle propulsion and percussive fireworks over the course of a raga. At 8 p.m., Town Hall, 123 West 43rd Street, Manhattan, (212) 545-7536, the-townhall-nyc.org or worldmusicinstitute.org; $25 to $45; $15 for students. (Pareles) SIX PARTS SEVEN (Tonight) The Six Parts Seven, from Kent, Ohio, play instrumental rock that unfolds with deliberation and inexorable grace, working through minimalistic guitar-picking patterns and gradual buildups that quickly become mesmerizing. With Trouble Books, Ghosts of Pasha and Yellow Fever. At 8, Union Hall, 702 Union Street, at Fifth Avenue, Park Slope, Brooklyn, (718) 638-4400, unionhallny.com; $8. (Pareles) SLOAN (Thursday) Like modern metafictions, Sloans pop-rock songs twist inward on themselves. With their winsome tunes and neo-Beatles intricacies, Sloans songs are not just about unrequited yearnings, but also about the process of writing pop songs about unrequited yearnings. Theyre rarely so clever that their heart doesnt come through. With Small Sins. At 9 p.m., Maxwells, 1039 Washington Street, Hoboken, N.J., (201) 653-1703, maxwellsnj.com; $20. (Pareles) SUNSET RUBDOWN (Tonight) A solo enterprise of the prolific Spencer Krug, who sings and plays keyboards in the Montreal indie-arty band Wolf Parade, Sunset Rubdown is one of those weirdly fascinating bedroom noise projects characterized by stompy lo-fi backing tracks and evocative stream-of-consciousness lyrics (Shut up, I am dreaming of places where lovers have wings). With Katie Eastburn and Get Him Eat Him. At 8:30, Bowery Ballroom, 6 Delancey Street, near the Bowery, Lower East Side, (212) 533-2111, boweryballroom.com; sold out. (Sisario) * AMY WINEHOUSE (Tuesday and Wednesday) The British R&B revivalist of the moment, Ms. Winehouse growls defiant epigrams of debauchery (They tried to make me go to rehab/I said no, no, no) over tasty arrangements that, were it not for the whiff of hip-hop in the rhythms, could pass for lost 1960s soul tracks. With Patrick Wolf on Tuesday. At 8 p.m., Highline Ballroom, 431 West 16th Street, Chelsea, (212) 414-5994, highlineballroom.com; sold out. Mr. Wolf also plays on Wednesday at 8 p.m., Bowery Ballroom, 6 Delancey Street, near the Bowery, Lower East Side, (212) 533-2111, boweryballroom.com; $15. (Sisario) Jazz Full reviews of recent jazz concerts: nytimes.com/music. KARRIN ALLYSON (Wednesday and Thursday) Ms. Allyson is an effervescent jazz singer whose recent album Footprints (Concord) convincingly delves into Jon Hendricks-style vocalese. (Through May 12.) At 9 and 11 p.m., Birdland, 315 West 44th Street, Clinton, (212) 581-3080, birdlandjazz.com; cover, $40, with a $10 minimum. (Nate Chinen) SAM BARDFELDS STUFF SMITH PROJECT (Thursday) Sam Bardfeld, a violinist with a wide-ranging résumé, pays tribute to a swing-era hero of his instrument with help from the pianist Anthony Coleman, the bassist Sean Conly and the guitarist and singer Doug Wamble. At 8 p.m., Barbès, 376 Ninth Street, at Sixth Avenue, Park Slope, Brooklyn, (718) 965-9177, barbesbrooklyn.com; cover, $10. (Chinen) TIM BERNES LITTLE SATAN (Wednesday) The alto saxophonist Tim Berne presents a coy riff on his established skronk-improv trio Big Satan: the drummer Tom Rainey remains, but Kieran Daly on electric mandolin fills in for the guitarist Marc Ducret. At 8 and 10 p.m., Barbès, 376 Ninth Street, at Sixth Avenue, Park Slope, Brooklyn, (718) 965-9177, barbesbrooklyn.com; cover, $10. (Chinen) MICHEL CAMILO (Tuesday through Thursday) A percussive, often cathartic pianist, Mr. Camilo has a new album, Spirit of the Moment (Telarc), that captures the crisp interplay of his Latin-jazz trio with the bassist Charles Flores and the drummer Dafnis Prieto. (Through May 13.) At 8 and 10:30 p.m., Blue Note, 131 West Third Street, West Village, (212) 475-8592, bluenote.net; cover, $35 at tables, $20 at the bar, with a $5 minimum. (Chinen) * RON CARTER NONET/AARON GOLDBERG TRIO (Monday) At 70, the bassist Ron Carter has come to assume a professorial stature in addition to his celebrated virtuosity; here he leads an ensemble that includes four cellos. Also on the program is the sharp young pianist Aaron Goldberg, with a superb rhythm section: Omer Avital on bass and Ali Jackson on drums. At 8 p.m., Merkin Concert Hall, 129 West 67th Street, (212) 501-3330, kaufman-center.org; $40; $35 in advance. (Chinen) CREOLE JAZZ SERENADERS (Tomorrow) The New Orleans jazz banjoist Don Vappie has been leading this repertory ensemble for the past dozen years, with typically high-spirited results. At 9:30 p.m., Joes Pub at the Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555 or (212) 539-8778, joespub.com; cover, $20, with a two-drink minimum. (Chinen) DEATH AMBIENT (Tonight and tomorrow night) A descriptively titled experimental collective, consisting of Fred Frith on guitar, Ikue Mori on electronics and Kato Hideki on bass. At 8 and 10, the Stone, Avenue C and Second Street, East Village, thestonenyc.com; cover, $10. (Chinen) ELI DEGIBRI TRIO (Tuesday) An Israeli saxophonist with a taste for burnished sonorities, Eli Degibri explores his own music with help from Gary Versace on organ and Obed Calvaire on drums. At 9 and 10:30 p.m., Louis 649, 649 East Ninth Street, East Village, (212) 673-1190, louis649.com; no cover. (Chinen) SCOTT DUBOIS QUARTET (Sunday) Scott DuBois, a guitarist equally devoted to knotty compositions and free improvisation, leads a band with the saxophonist Hakon Kornstad, the bassist Eivind Opsvik and the drummer Jeff Davis. At 9:30 p.m., 55 Bar, 55 Christopher Street, West Village, (212) 929-9883, 55bar.com; cover, $10. (Chinen) JOHN ELLIS GROUP (Tomorrow) John Ellis is a tenor and soprano saxophonist drawn to loose-limbed funk, but he also has an interest in spacious modern jazz, as he illustrates on his most recent album, By a Thread (Hyena). He works here with similarly inclined players, like the guitarist Mike Moreno, the pianist Aaron Parks and the drummer Kendrick Scott. At 9 and 10:30 p.m., Jazz Gallery, 290 Hudson Street, at Spring Street, South Village, (212) 242-1063, jazzgallery.org; cover, $15. (Chinen) * ESSENTIALLY ELLINGTON (Sunday) Jazz at Lincoln Centers nationwide Duke Ellington repertory competition concludes this weekend, as 15 high school jazz orchestras come out swinging. Sundays concert and ceremony feature the finalists, alongside Wynton Marsalis and the Jazz at Lincoln Center Orchestra. At 7:30 p.m., Avery Fisher Hall, Lincoln Center, (212) 875-5030, jalc.org; $20. (Chinen) ALAN FERBER NONET (Tonight) Here, as on his new album, The Compass (Fresh Sound New Talent), the trombonist Alan Ferber features his own elastic compositions for nonet. In the second set the group will be augmented with a four-piece string section. At 9 and 10, Tea Lounge, 837 Union Street, between Sixth and Seventh Avenues, Park Slope, Brooklyn, (718) 789-2762, tealoungeny.com; $5 donation. (Chinen) 4 GENERATIONS OF MILES (Thursday) The rapid permutation of Miles Daviss working bands makes it theoretically possible for four former sidemen to claim connection to four separate phases of his career. Here those musicians are the drummer Jimmy Cobb, the tenor saxophonist George Coleman, the bassist Buster Williams and the guitarist Mike Stern. (Through May 13.) At 8:30 and 10:30 p.m., Iridium, 1650 Broadway, at 51st Street, (212) 582-2121, iridiumjazzclub.com; cover, $32.50 to $35, with a $10 minimum. (Chinen) JOEL FRAHM (Tuesday) Mr. Frahms tenor saxophone playing has rarely sounded roomier or more relaxed than it does on his new album, We Used to Dance (Anzic). He holds down a regular trio engagement at the Bar Next Door. At 8 and 10 p.m., 129 MacDougal Street, West Village, (212) 529-5945, lalanternacaffe.com; cover, $8, with a one-drink minimum. (Chinen) * KENNY GARRETT (Tonight through Sunday night) The best moments on Beyond the Wall, Mr. Garretts most recent album, showcase his alto saxophone in dialogue with the robust tenor of Pharoah Sanders, who resurfaces as a guest at this engagement. At 8:30 and 10:30, Iridium, 1650 Broadway, at 51st Street, (212) 582-2121, iridiumjazzclub.com; cover, $35 and $40, with a $10 minimum. (Chinen) * GRAND REUNION (Tuesday through Thursday) The saxophonist Todd Williams, the pianist Marcus Roberts, the bassist Reginald Veal and the drummer Herlin Riley reconvene as a collective, each bringing a sophisticated understanding of the blues. Given that they once worked together in the employ of Wynton Marsalis, there just might be a special guest. (Through May 13.) At 7:30 and 9:30 p.m., Dizzys Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 258-9595, jalc.org; cover, $30, with a minimum of $10 at tables, $5 at the bar. (Chinen) TOM HARRELL QUINTET (Tonight and tomorrow night) An introverted but assertive trumpeter, Tom Harrell leads a disciplined hard-bop band with Wayne Escoffery on tenor saxophone, Danny Grissett on piano, Ugonna Okegwo on bass and Johnathan Blake on drums. At 8, 10 and 11:30, Smoke, 2751 Broadway, at 106th Street, (212) 864-6662, smokejazz.com; cover, $28. (Chinen) * FRED HERSCH TRIO (Tuesday through Thursday) Together with the bassist Drew Gress and the drummer Nasheet Waits, the pianist Fred Hersch applies a rigorous elasticity to originals and standards alike. The trio has a sparkling new album, Night and the Music (Palmetto), featuring a little of both. (Through May 13.) At 9 and 11 p.m., Village Vanguard, 178 Seventh Avenue South, West Village, (212) 255-4037, villagevanguard.com; cover, $20, with a $10 minimum. (Chinen) BILL HORVITZ EXPANDED BAND (Sunday) The guitarist Bill Horvitz presents a suite of new compositions dedicated to the memory of his brother Philip, a writer and performer; some 20 musicians will be involved, including the clarinetist Marty Ehrlich, the bassist Ken Filiano and the pianist and vocalist Robin Holcomb. At 8:30 p.m., Roulette, 20 Greene Street, at Grand Street, SoHo, (212) 219-8242, roulette.org; $15, $10 for students. VIJAY IYER (Thursday) A pianist and composer given to restive energies and rhythmic conundrums, Mr. Iyer leads an exceptionally intuitive band, with the alto saxophonist Rudresh Mahanthappa, the drummer Marcus Gilmore and the bassist Matt Brewer. (Through May 12.) At 7:30 and 9:30 p.m., Jazz Gallery, 290 Hudson Street, at Spring Street, South Village, (212) 242-1063, jazzgallery.org; cover, $15; $10 for members. (Chinen) OMER KLEIN TRIO (Tonight and tomorrow night) The pianist Omer Klein explores a melodic modernism partly informed by his Israeli roots; his trio includes Massimo Biolcati on bass and Eric McPherson on drums. At 9 and 10:30, Smalls, 183 West 10th Street, West Village, (212) 675-7369, smallsjazzclub.com; cover, $20. (Chinen) * KATE McGARRY SEXTET (Thursday) On her fine new album, The Target (Palmetto), Ms. McGarry applies a vision of pop pluralism to the craft of jazz singing, without slighting either side of the equation. She appears with some of the same musicians here, including the guitarist Keith Ganz, the organist Gary Versace and the saxophonist Donny McCaslin. (Through May 13.) At 7:30 and 9:30 p.m., Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; cover, $20. (Chinen) JOHN McNEIL/BILL McHENRY QUARTET (Sunday) Mr. McNeil, a trumpeter, and Mr. McHenry, a tenor saxophonist, mostly play obscurities from the 1950s West Coast jazz canon in this solid and often delightful quartet. At 8 and 10 p.m., Biscuit BBQ, 230 Fifth Avenue, at President Street, Park Slope, Brooklyn, (718) 399-2161, biscuitbbq.com; cover, $10; $5 for musicians, students and children, with a one-drink minimum. (Chinen) JEREMY PELT QUARTET (Tonight through Sunday night) Jeremy Pelt, a trumpeter with a big tone and bracing technique, leads a locomotive band with Danny Grissett on piano, Derek Nievergelt on bass and Willie Jones III on drums. At 9 and 11, Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; cover, $25, with a $10 minimum. (Chinen) MICHELE ROSEWOMAN (Today) Ms. Rosewoman is a pianist with a sharp and searching style, as she confirms on her recent album, The In Side Out (Advance Dance). Here she leads her band Quintessence: Mark Shim and Loren Stillman on saxophones, Matt Brewer on bass and Gene Jackson on drums. At 6 and 7:30 p.m., Rose Center for Earth and Space, Central Park West at 81st Street, (212) 313-7278, amnh.org/rose/specials/jazz; suggested admission, $14. (Chinen) GRANT STEWART (Tuesday) Mr. Stewart is an uncommonly proficient tenor saxophonist, as he confirms on a bebop-steeped new album, In the Still of the Night (Sharp Nine). At 8:30 and 10:30 p.m., Smalls, 183 West Tenth Street, West Village, smallsjazzclub.com; cover, $20. (Chinen) TRAVIS SULLIVANS CASUAL SEXTET (Thursday) The alto saxophonist Travis Sullivan, probably best known as the leader of a self-explanatory band called the Bjorkestra, leads a smaller and freer group with colleagues like the guitarist Rez Abbasi and the vocalist Jen Shyu. At 9:30 p.m., Joes Pub at the Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 539-8778, joespub.com; cover, $12, with a two-drink minimum. (Chinen) LEW TABACKIN TRIO (Tonight and tomorrow night) Lew Tabackin is an expansive tenor saxophonist and lyrical flutist who never sounds freer than in this setting, backed only by a bassist (Boris Kozlov) and a drummer (Mark Taylor). At 8 and 9:45, Kitano Hotel, 66 Park Avenue, at 38th Street, (212) 885-7119, kitano.com; cover, $25, with a $15 minimum. (Chinen) OHAD TALMORS NEWSREEL (Sunday) The multireedist Ohad Talmor features his own music in this ensemble featuring the trumpeter Shane Endsley, the keyboardist Jacob Sacks, the bassist Matt Pavolka and the drummer Dan Weiss. (Mr. Endsley plays an early set at 7 p.m., with his own group.) At 9 p.m., Bar 4, 444 Seventh Avenue, at 15th Street, Park Slope, Brooklyn, (718) 832-9800, myspace.com/conceptionsatbar4; suggested cover for each show, $5. (Chinen) * CECIL TAYLOR: NEW AHA 3 WITH ANDY BEY (Sunday) On the surface, the fiery pianist Cecil Taylor and the mellifluous singer Andy Bey have little in common. But their interaction here is not a first, and it holds some cooperative possibilities, partly because of the audacious support of the bassist Henry Grimes and the drummer Pheeroan akLaff. At 8 and 10:30 p.m., Blue Note, 131 West Third Street, West Village, (212) 475-8592, bluenote.net; cover, $35 at tables, $20 at the bar, with a $5 minimum. (Chinen) TURTLE ISLAND QUARTET (Tonight through Sunday night) This string ensemble, which won a 2005 Grammy for best classical crossover album, marks the release of a more recent effort, A Love Supreme: The Legacy of John Coltrane (Telarc). At 7:30 and 9:30, with an 11:30 set tonight and tomorrow night, Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; cover, $35; $30 on Sunday. (Chinen) * VISION TONIC (Tuesday) In response to the recent closure of Tonic, the Vision Festival absorbed a few off-season bookings, including two next Tuesday. The first, at 7:30, is a promising trio consisting of the guitarist Marc Ribot, the bassist Henry Grimes and the drummer Chad Taylor; the second, at 9:30, includes the drummer Andrew Barker and the multireedists Daniel Carter and Sabir Mateen. At 7:30 and 9:30 p.m., Clemente Soto Vélez, 107 Suffolk Street, Lower East Side, (212) 696-6681, visionfestival.org; cover, $10 per set, with a one-drink minimum. (Chinen) JOHN ZORNS BOOK OF ANGELS (Tonight and tomorrow night) The Book of Angels is a body of 300 works composed by John Zorn during an apparently feverish three-month span. Tonight the cellist Erik Friedlander and the keyboardist Jamie Saft, among others, perform some of those pieces; tomorrow the interpretation falls to the bassist Shanir Blumenkranz and the Masada String Trio. At 8, Abrons Arts Center, 466 Grand Street, at Pitt Street, Lower East Side, (212) 352-3101, abronsartscenter.org; $20. (Chinen) Classical Full reviews of recent music performances: nytimes.com/music. Opera * IL BARBIERE DI SIVIGLIA (Tomorrow) Bartlett Shers breezy production of Rossinis Barbiere di Siviglia, which was introduced in November, conveys the comic confusions of the story through its fluid staging and a wonderfully abstract set: a matrix of movable doors, staircases and potted orange trees, behind which the characters spy on one another. The heated sexuality in this tale of romantic intrigue also comes through strongly, thanks to Mr. Shers subtle directing of a handsome cast, notably the captivating young mezzo-soprano Joyce DiDonato, a vocally agile and feisty Rosina. Some major changes are coming to the cast, though, for the final performances. The accomplished American tenor Lawrence Brownlee, in his Met debut role, makes a sweet-toned, technically agile and appealing Count Almaviva. The baritone Russell Braun is a hardy and clever Figaro. Maurizio Benini conducts. At 8 p.m., Metropolitan Opera House, Lincoln Center, (212) 362-6000, metopera.org; $220 tickets available. (Anthony Tommasini) LA GRAN SCENA OPERA COMPANY (Tonight and tomorrow night) In the tradition of every great diva who just cant say goodbye to the stage, Mme. Vera Galupe- Borszkh is following last years 20th annual and absolute last farewell with a return engagement, Back by Personal Whim (and Popular Demand). Mme. Vera, for the two or three opera lovers in New York still unfamiliar with her name, is a creation of the brilliant Ira Siff, who skewers opera and its mores as only one steeped in it can. Madames recitals are a combination of stand-up comedy and Vissi darte, and have been shown to be suitable even for nonopera fans -- if they can get tickets. At 8, Thalia at Symphony Space, 2537 Broadway, at 95th Street, (212) 864-5400, granscena.org; $33. (Anne Midgette) * IL TRITTICO (Tonight, Monday and Thursday) The Mets new Trittico, Puccinis triptych of one-act operas, is now the most elaborate production in the companys repertory. The director Jack OBrien has created grandly old-fashioned yet insightful and effective stagings of these three very different operas: Il Tabarro, a grim love triangle aboard a barge in Paris; Suor Angelica, a tender, mystical and ultimately devastating story of a young nuns yearning to be with her dead child; and Gianni Schicchi, an irreverent comedy about the avaricious relatives of a miserly old man who has just died. The earthy soprano Maria Guleghina as the beleaguered barge-owners wife, the impassioned soprano Barbara Frittoli as Sister Angelica and the stylish baritone Alessandro Corbelli as the shrewd Schicchi are standouts, though the powerhouse mezzo-soprano Stephanie Blythe almost steals each show playing three supporting roles. James Levine conducts vibrant and beautifully refined performances. Tonight at 8, Monday and Thursday at 7:30 p.m., Metropolitan Opera House, Lincoln Center, (212) 362-6000, metopera.org; $205 tickets available tonight; $175 for Monday and Thursday. (Tommasini) TURANDOT (Tuesday) Franco Zeffirellis extravagant take on a Puccini fantasy of Far Eastern bloodthirstiness and lust helps wind down the Mets season. Erika Sunnegardh continues in the title role. At 7:30 p.m., Metropolitan Opera House, Lincoln Center, (212) 362-6000, metopera.org; $175 tickets remaining. (Bernard Holland) Classical Music * PIERRE-LAURENT AIMARD (Thursday) During his Perspectives series at Carnegie Hall this season, this astounding French pianist has revealed himself to be a fascinating concert programmer and astute music historian. The next-to-last of his Perspectives concerts, called Programming Games, offers an eclectic evening of 20th-century works for piano and percussion by Ligeti, Peter Eotvos and Gyorgy Kurtag, culminating in Bartoks exciting Sonata for Two Pianos and Percussion. You can be sure that Mr. Aimard will have an intriguing explanation for having included Steve Reichs Clapping Music in the mix. At 7:30 p.m., Zankel Hall, Carnegie Hall, (212) 247-7800, carnegiehall.org; sold out. (Tommasini) AMERICAN COMPOSERS ORCHESTRA (Tuesday and Wednesday) Composers, especially young ones, have too few chances to hear their new orchestral works performed. Part concert, part service, part competition, this orchestras annual new-music readings address the gap, selecting nine composers (from 150 submissions this year) to receive feedback from mentor composers and conductors. One of the nine will win a $15,000 prize and an official premiere at an American Composers Orchestra concert; all will hear their music performed by a professional orchestra -- a prize in itself. At 10 a.m., Skirball Center for the Performing Arts, 566 LaGuardia Place, at Washington Square South, Greenwich Village, (212) 977-8495, americancomposers.org; free. (Midgette) AMERICAN MODERN ENSEMBLE (Tonight and tomorrow) This ensemble of experienced new-music performers, conducted by Robert Paterson, offers works by Chen Yi and Zhou Long, both from China, who draw on Chinese and Western sounds and structures in their music. (They are also married.) The first half of the program includes Ms. Chens Sparkle, Chinese Ancient Dances, Near Distance and Blue Dragon Sword Dance. The second part is devoted to Mr. Zhous Dhyana and Metal, Stone, Silk, Bamboo. The composers will be interviewed during the intermission. At 8 p.m., Tenri Cultural Institute, 43A West 13th Street, Greenwich Village, (212) 645-2000, americanmodernensemble.org; $20; $15 for students and 65+. (Allan Kozinn) CONCERTANTE (Sunday) This vibrant string sextet will play Mozarts String Quintet in G minor (K. 516) and Strausss Metamorphosen (the version for string sextet). The ensemble, which champions new music, also offers a new piece by Jonathan Leshnoff. At 3 p.m., Merkin Concert Hall, 129 West 67th Street, Manhattan, (212) 501-3330, kaufman-center.org; $20. (Vivien Schweitzer) MATTHIAS GOERNE AND CHRISTOPH ESCHENBACH (Monday) Call it the Fischer-Dieskau effect: Germany has produced a whole crop of fine baritones, and one of the finest is Matthias Goerne, with a dark, full voice; a slightly distracting penchant for onstage gesticulation; and a constant search for artistic stimulation that will push him to extend his artistic horizons. Christoph Eschenbach, moving off the podium and taking his place as accompanist, joins him for a concert of Schumann (including the Op. 24 Liederkreis) and Brahms (including Vier Ernste Gesänge, a wrenching set to which Mr. Goerne should do full justice). At 8 p.m., Carnegie Hall, (212) 247-7800, carnegiehall.org; $23 to $72. (Midgette) INTERPRETATIONS (Thursday) To celebrate the composer Chinary Ungs 65th birthday, several ensembles and soloists -- Antares, the Brentano String Quartet, the cellist Maya Beiser, the percussionist Steven Schick and the baritone Thomas Buckner -- are joining forces to play some of his music. The program also includes works by Koji Nakano, Hi Kyung Kim, Kee-Young Chong and Chou Wen-Chung. At 8 p.m., Asia Society, 725 Park Avenue, at 70th Street, (212) 517-2742 or (212) 545-7536, asiasociety.org; $20. (Kozinn) ALEXANDER LONQUICH (Thursday) This German pianist returns to the 92nd Street Y, where he made his New York debut in March 2006, with Schumanns Fantasiestücke, and selections from Album for the Young. He will be joined by Cristina Barbuti for Schumanns 12 Pieces for Piano Four Hands for Children Small and Large, and Brahmss Variations on a Theme by Schumann for Piano Four Hands. At 8 p.m., 1395 Lexington Avenue, (212) 415-5500, 92y.org; $40. (Schweitzer) * ORPHEUS CHAMBER ORCHESTRA (Tomorrow) The young Dutch violinist Janine Jansen made her New York debut at an Orpheus concert at the start of this season, and gave high-energy performances of Vivaldis Four Seasons, which was also the subject of her first recording. Now she has released a second CD with the Mendelssohn Concerto as its centerpiece, and is returning to play that work with Orpheus as well. The program also includes Poul Ruderss Credo and Trapeze, and Schumanns Symphony No. 2. At 8 p.m., Carnegie Hall, (212) 247-7800, carnegiehall.org; $30 to $98. (Kozinn) * JORDI SAVALL (Wednesday and Thursday) This Spanish master of the viola da gamba has become a favorite of New York early-music audiences, both as a soloist and as the leader of his three period-instrument ensembles. This time he is playing two gamba recitals, with Pierre Hantaï, a harpsichordist; and Xavier Díaz, a lutenist. The first program, Folias and Romanescas, includes works by Ortiz, Murcia, Sanz and Hume. The second is devoted to music of the French court, with works by Marais, Couperin and others. At 8 p.m., Metropolitan Museum of Art, (212) 570-3949, metmuseum.org; $55; $100 for both concerts. (Kozinn) Dance Full reviews of recent performances: nytimes.com/dance. * ALVIN AILEY AMERICAN DANCE THEATER (Tonight through Sunday) Yes, these terrific dancers will be performing Aileys soul-lifting Revelations. Any other questions? Tonight and tomorrow night at 8, Sunday at 3 p.m., New Jersey Performing Arts Center, 1 Center Street, Newark, (888) 466-5722, njpac.org; $22 to $78. (Jennifer Dunning) AMERICAN REPERTORY BALLET (Tonight and tomorrow night) This New Jersey-based classical ballet troupe will perform Twyla Tharps Octet, and choreography by Val Caniparoli; Harrison McEldowney; Susan Shields; the company director, Graham Lustig; and the always intriguing Melissa Barak. At 8, Symphony Space, 2537 Broadway, at 95th Street, (212) 864-5400, symphonyspace.org; $18 to $38; $12 to $32 for students and 65+. (Dunning) BROOKLYN ARTS EXCHANGE: FIRST WEEKENDS (Tonight and tomorrow night) The choreographers participating in this installment of a series for new and lesser-known artists are KC Chun-Manning, Alethea Adsitt and Jessica Morgan. At 8, Brooklyn Arts Exchange, 421 Fifth Avenue, at Eighth Street, Park Slope, Brooklyn, (718) 832-0018, bax.org; $8 to $15. (Dunning) CHAMECKILERNER (Tonight and tomorrow night) Rosane Chamecki and Andrea Lerner, both originally from Brazil, are known for their dark, exaggerated and often raw depictions of human behavior. In their new multimedia EXIT, they create a funeral rite for themselves in which they watch from the afterlife while colleagues offer eulogies and flashbacks. At 8:30, the Kitchen, 512 West 19th Street, Chelsea, (212) 255-5793, Ext. 11, thekitchen.org; $10. (Dunning) NORA CHIPAUMIRE (Tonight) This is the second and last performance of push/pull theories by Ms. Chipaumire, a Zimbabwean dancer, and the choreographer and writer/director Linnet Taylor. Ms Chipaumire is a powerful performer whose work explores her experience as an immigrant and her relationship to her history and country. At 7:30, Dance Theater Workshop, 219 West 19th Street, Chelsea, (212) 924-0077, dtw.org; free. (Roslyn Sulcas) DANCE CONVERSATIONS @ THE FLEA (Tuesday) This performance and discussion series ends its season with dances by Kristen Hollinsworth, Valerie Green, Julia Ritter and Pascal Rekoert, and talk moderated by Jonah Bokaer. At 7 p.m., Flea Theater, 41 White Street, TriBeCa, (212) 226-2407, theflea.org; free. (Dunning) ANDRé GINGRAS/KORZO PRODUCTIES (Tonight and tomorrow night) From the Netherlands, Mr. Gingras and his company will present CYP17, a mixed-media piece that aims to present the freak show that is our future, as its publicity puts it. Rock on. At 8:30, Danspace Project, St. Marks Church, 131 East 10th Street, East Village, (212) 674-8194, danspaceproject.org; $15. (Dunning) IN THE COMPANY OF MEN (Tonight through Sunday, and Thursday) Six individuals and companies will celebrate choreography by men. They are Aaron Drapers AnD Dance, nathantrice/RITUALS, Jeffrey Peterson Dance, Cosmo Scharf (in collaboration with Larry Keigwin and Young Dance Collective), Brian Brooks and dre.dance, directed by Taye Diggs (yes, the actor) and Andrew Palermo. (Through May 13.) Tonight and tomorrow night at 8, Sunday at 3 p.m., Thursday at 8 p.m., Dance New Amsterdam, 280 Broadway, at Chambers Street, TriBeCa, (212) 279-4200, dnadance.org; $25. (Dunning) JOYCE SOHO PRESENTS (Tonight, tomorrow night and Thursday night) This is the first of a three-part series offering four emerging groups each week. This weekend features Sidra Bell Dance New York, Oni Dance, Gallim Dance Group/Andrea Miller and Dorian Nuskind-Oder. Week 2 performances begin on Thursday, with fivefour/Cortney McGuire and Leah Nelson, Cherylyn Lavagnino Dance, Katie Martin and Katy Orthwein. At 8, Joyce Soho, 155 Mercer Street, (212) 352-3101, or (866) 811-4111; $15; $12 for students and 65+; $35 for a three-weekend pass. (Sulcas) ALONZO KINGS LINES BALLET (Tonight through Sunday) This San Francisco company dances ballet with an unusually streamlined and extra-active body line and attack. Mr. Kings new Moroccan Project is set to African drumming and oud and violin music. His Migration, also new, will be danced to music by Pharoah Sanders, Miguel Frasconi and Leslie Stuck. Tonight and tomorrow night at 8, Sunday at 2 and 7:30 p.m., Joyce Theater, 175 Eighth Avenue, at 19th Street, Chelsea, (212) 242-0800, joyce.org; $40. (Dunning) LA MAMA MOVES! (Tonight through Sunday night) This modern-dance version of a three-ring circus spills out into three theater spaces at La MaMa, with nine programs featuring more than 50 companies and soloists. (Through May 13.) At 7:30 p.m., La MaMa E.T.C., 74A East Fourth Street, East Village, (212) 475-7710, lamama.org; $15. (Dunning) MONEY OF THE MONTH CLUB (Tonight and tomorrow night) Were not quite sure what this is all about, but it sounds as if it lives up to the Dixon Place standard of the cozily bizarre. At 8, Dixon Place, 258 Bowery, between Houston and Prince Streets, Lower East Side, (212) 219-0736, dixonplace.org; $12; $10 students and 65+. (Dunning) * NEW YORK CITY BALLET (Tonight through Sunday, and Tuesday through Thursday) The new production of Romeo and Juliet by the company director, Peter Martins, continues. The doomed young lovers will be danced by Sterling Hyltin and Robert Fairchild (tonight, tomorrow night and Tuesday); Tiler Peck and Sean Suozzi (tomorrow afternoon and Thursday); Erica Pereira and Allen Peiffer (Sunday); and Kathryn Morgan and Seth Orza (Wednesday). (Through May 13.) Tonight at 8, tomorrow at 2 and 8 p.m., Sunday at 3 p.m., Tuesday and Wednesday at 7:30 p.m., Thursday at 8 p.m., New York State Theater, Lincoln Center, (212) 870-5570, nycballet.com; $15 to $86. (Dunning) DAVID PARKER AND THE BANG GROUP (Tuesday through Thursday) The members of Mr. Parkers troupe use their bodies as instruments -- literally -- creating a percussive score as they dance. His new Hour Upon the Stage is likely to offer the eccentric comedy that Mr. Parker specializes in, or as press materials put it, a ribald approach to gender and sexuality. On Tuesday there will be a preshow talk at 6.30 p.m. (Through May 12.) At 7.30 p.m., Dance Theater Workshop, 219 West 19th Street, Chelsea, (212) 924-0077, dtw.org; $25; $15 for students, 65+ and artists. (Sulcas) RAGAMALA MUSIC AND DANCE THEATER (Tonight through Sunday, and Thursday) From Minneapolis, the company mixes Indian Bharatanatyam dance with contemporary movement, Japanese taiko drums and a capella singing. (Through May 13.) Tonight at 7, tomorrow at 2 and 7 p.m., Sunday at noon and 5 p.m., Thursday at 7 p.m., New Victory Theater, 209 West 42nd Street, Manhattan, (212) 239-6200, newvictory.org; $12.50 to $35. (Dunning) SKOVE WORKS (Thursday) Lily Skove and her modern-dance company will present SPLIT, a collaboration with the lighting designer T J Hellmuth that plays with hidden and obstructed perspectives in shadowy spaces that might be rooms in a house. And this mustily idiosyncratic performing space would seem the ideal setting. (Through May 12.) At 8 p.m., the Chocolate Factory, 5-49 49th Avenue, Long Island City, Queens, (212) 352-3101, chocolatefactorytheater.org; $15. (Dunning) * URBAN BUSH WOMEN (Tuesday through Thursday) Jawole Willa Jo Zollars Walking With Pearl: Africa Diaries and Walking With Pearl: Southern Diaries, works based on the travel diaries of the modern-dance pioneer Pear Primus, are the linchpins of the two programs at the Joyce offered by this dynamic company. There are other draws, however: a new work by Camille A. Brown, one of the most promising young choreographers around, and a restaging of Blondell Cummingss Chicken Soup. (Through May 13.) Tuesday and Wednesday at 7.30 p.m., Thursday at 8 p.m., Joyce Theater, 175 Eighth Avenue, at 19th Street, Chelsea, (212) 242-0800, joyce.org; $36. (Sulcas) Art Museums and galleries are in Manhattan unless otherwise noted. Full reviews of recent art shows: nytimes.com/art. Museums * AMERICAN FOLK ART MUSEUM: MARTíN RAMíREZ, through May 13. Ramírez, a Mexican peasant who immigrated to Northern California and died there at 68 in 1963, spent the last 32 years of his life in a mental hospital, making some of the greatest art of the last century. He had his own way with materials and color, and an unforgettable cast of characters. But most of all, Ramírez had his own brand of pictorial space, established by rhythmic systems of parallel lines, both curved and straight, whose mesmerizing expansions and contractions simultaneously cosset and isolate his figures. In addition to being one of the seasons best exhibitions and the first of his work in a New York museum, this show should render null and void the distinction between insider and outsider art. 45 West 53rd Street, (212) 265-1040, folkartmuseum.org. (Roberta Smith) BROOKLYN MUSEUM: KINDRED SPIRITS: ASHER B. DURAND AND THE AMERICAN LANDSCAPE, through July 29. This show of about 60 works by one of the greats of 19th-century American landscape painting has as its centerpiece Kindred Spirits (1849), a tribute to the landscapist Thomas Cole and his friend the poet-journalist William Cullen Bryant. A founder of the Hudson River School, Durand (1796-1886) favored the realistic approach to landscape advocated by the English critic John Ruskin. Durand explored forest interiors with close attention to the ways of trees, foliage and rocks and ground cover in smaller works, while his larger and more elaborate exhibition pictures, influenced by European masters, are Arcadian visions suffused with light, color and atmospheric perspective. The show reveals Durands strong sense of artistic mission and his potent role in shaping the aesthetic of 19th-century America. 200 Eastern Parkway, at Prospect Park, Brooklyn, (718) 638-5000, brooklynmuseum.org. (Grace Glueck) GREY ART GALLERY: BEYOND THE WHITE CUBE: A RETROSPECTIVE OF BRIAN ODOHERTY/PATRICK IRELAND, through July 14. Starting in the mid-1960s and in concert with the most influential thinkers of the period (Roland Barthes, Marcel Duchamp and Susan Sontag), Brian ODoherty made Conceptual art in a Minimalist vein. This show displays his sculptures, drawings, performance videos, paintings and rope drawings, which could easily be called installations. Its a must-see show for anyone who wants to understand the conceptual frameworks that underpin so much of todays most significant installation and performance art. 100 Washington Square East, Greenwich Village, (212) 998-6780, nyu.edu/greyart/. (Bridget L. Goodbody) GUGGENHEIM MUSEUM: DIVISIONISM/NEO-IMPRESSIONISM: ARCADIA AND ANARCHY, through Aug. 6. Ultimately this rare, compressed, mercurial exhibition of work by the Italian Divisionists of the 1890s is long on history and short on truly convincing paintings. The inclusion of works by Seurat and his French, Dutch and Belgian followers clarifies how the Italians pushed Pointillism, Seurats invention, in all directions: toward realism, academic classicism, Symbolism, class consciousness and even Impressionism. The show opens a new, albeit small, window on the genesis of Modernism beyond the French canon. If many of the works are period pieces, they are also immensely appealing, big-hearted and physically robust period pieces. Guggenheim Museum, 1071 Fifth Avenue, at 88th Street, (212) 423-3500. (Smith) * JAPAN SOCIETY: AWAKENINGS: ZEN FIGURE PAINTING IN MEDIEVAL JAPAN, through June 17. Japan Society has a history of producing exquisite shows of Buddhist art. And this one, with four dozen paintings of Buddhists gods and saints hung in shrinelike alcoves, is transporting. It covers a broad swath of geography, bringing together 13th- to 16th-century hanging scrolls, not only from Japan but also from China, where Zen Buddhism, called Chan in Chinese, originated. 333 East 47th Street, (212) 832-1155, japansociety.org. (Holland Cotter) THE JEWISH MUSEUM: DATELINE: ISRAEL: NEW PHOTOGRAPHY AND VIDEO ART, through Aug. 5. Roughly every decade, the Jewish Museum offers a survey of contemporary art from and about Israel. This year non-Israeli artists from Europe and the United States -- and a single artist from Palestine -- have been added to the mix. Theres some very good work here, though, on the whole, the show grapples with crucial political issues in an indirect way. 1109 Fifth Avenue, at 92nd Street, (212) 423-3200, jewishmuseum.org. (Cotter) * THE METROPOLITAN MUSEUM OF ART: JOURNEYS: MAPPING THE EARTH AND MIND IN CHINESE ART, through Aug. 26. Every six months or so, the Met rotates all the work in its Chinese painting galleries to preserve the delicate silks and papers, and each time, the curator in charge, Maxwell K. Hearn, produces a new and illuminating thematic exhibition, as is the case with Journeys. Outward-bound and inward-bound are the directions taken by Chinese landscape painting, and it carries us on some fascinating voyages in a show that mixes classical and contemporary art. (212) 535-7710, metmuseum.org. (Cotter) * THE MET: VENICE AND THE ISLAMIC WORLD, 828-1797, through July 8. At its peak in the Renaissance, Venice was a giant, clamorous Costco-on-the-Rialto. All the necessities, and most of the luxuries, of life flowed into and through it, with many items arriving from Islamic Africa and the Near East. With classic Met largesse, this exhibition suggests the spectacle of two different cultures meeting in one fantastic city, in which commerce and love of beauty, those great levelers, unite them in a fruitful bond. (See above.) (Cotter) MORGAN LIBRARY & MUSEUM: APOCALYPSE THEN: MEDIEVAL ILLUMINATIONS FROM THE MORGAN, through June 17. Even in the contemporary art world the symbolism of the Book of Revelation has a subversive appeal. This new exhibition at the Morgan Library celebrates a facsimile of Las Huelgas Apocalypse (1220), the largest surviving Spanish illuminated commentary on the Apocalypse. The show, which includes 50 leaves from the original text, unbound and installed around the gallerys perimeter, offers a walking tour of the medieval imagination. 225 Madison Avenue, at 36th Street, (212) 685-0008, morganlibrary.org. (Andrea K. Scott) * THE MUSEUM OF MODERN ART: JEFF WALL, through May 14. This majestic show makes a great case for Mr. Wall as the most complete, if traditional, of the untraditional artists who emerged from the turmoil of Conceptual Art. His often immense color transparencies mounted on light boxes are enthralling visual vehicles, intent on giving pleasure while making a point or two about society, art, history, visual perception, the human animal or all of the above. An imposing blend of painting, street photography and movies, they blur reality and artifice, narrative and form, detail and the big statement. You cant stop looking at them. (212) 708-9400, moma.org. (Smith) * NEUE GALERIE: VAN GOGH AND EXPRESSIONISM, through July 2. The Neue has, as usual, gathered a stellar roundup of Expressionist art. In one of the shows most exciting rooms, a third-floor gallery devoted mostly to self-portraits, two extraordinary van Goghs hang at opposite ends: Self-Portrait With Straw Hat (1887-88), from the Metropolitan Museums collection, filled with energetic, radiating brushstrokes, and the National Gallerys vibrant self-portrait of the artist holding a palette and brushes, painted about a year later. The most compelling pairing in this room, though, is van Goghs Bedroom from 1889, the second of three versions he painted of his room in Arles, with Egon Schieles obvious homage, The Artists Bedroom in Neulengbach, painted in 1911, in a darker palette and with a perspective tipped precariously toward the viewer. 1048 Fifth Avenue, at 86th Street, (212) 628-6200, neuegalerie.org. (Martha Schwendener) THE STUDIO MUSEUM IN HARLEM: PHILOSOPHY OF TIME TRAVEL, through July 1. This flawed show, which was created by a group of artists who studied together at the California Institute of the Arts, is nonetheless an interesting example of one of the art worlds latest trends: the art collective. It takes Brancusis Endless Column as its point of departure and reimagines this Modernist icon from the point of view of art school grads, who are versed in the language of artspeak and wed to the righteous cause of freedom of expression. 144 West 125th Street, (212) 864-4500, studiomuseum.org. (Goodbody) WHITNEY MUSEUM OF AMERICAN ART: GORDON MATTA-CLARK RETROSPECTIVE, through June 3. I have no doubt that Matta-Clark is now being turned into a hot commercial commodity, but at least at the Whitney you can see what he aspired to be. He came up with various wonderfully harebrained ideas. Literally, in one case: after letting his hair grow for a year, he cut it off as a kind of performance and phrenological gag. The preserved hair, dutifully tagged piece by piece, opens the show like a holy relic. At the center of the exhibition is Splitting. To a plain single-family suburban frame house in Englewood, N.J., he made a cut straight down the middle, bisecting the building, then severing the four corners of the roof. The retrospective consists of films, drawings, photographs and some of the architectural pieces he cut out of buildings. The drawings are casual and not too interesting, but the luxurious black-and-white photographs from Paris speak more to Matta-Clarks formal elegance. The big message was: Life as art, and art as life, a philosophy dependent on our being properly attuned and keen to the moment. (212) 570-3676, whitney.org. (Michael Kimmelman) WHITNEY MUSEUM OF AMERICAN ART: TARYN SIMON, through June 24. Ms. Simon couches the show in the intellectual, power-to-the-people oratory of leftist politics, yet she clearly delights in exposing, in a quasi-tabloid fashion, Americas underbelly. Though she has also worked in war-torn areas, Ms. Simon is best known for The Innocents, a series of portraits of men and women who were wrongly convicted but later cleared by DNA test results. Ms. Simon can work as long as a year to gain permission to photograph high-security zones like the government-regulated quarantine sites, nuclear waste storage facilities, prison death rows and C.I.A. offices on view in the show. There are also pictures with lighter themes: the sandpit where the Grucci family tests fireworks, ski slopes being dynamited for avalanche control and the second Death Star, from Return of the Jedi, at George Lucass Skywalker Ranch. Ms. Simon is at her artistic best when her delight in the strangeness of American culture shines. (See above.) (Goodbody) Galleries: Uptown * RICHARD OELZE: PAINTINGS AND DRAWINGS FROM THE 1950s & 1960s Nearly two dozen paintings in the first United States show of this little-known German Surrealist introduce an introvert with a penchant for grisaille grottolike structures that seem built on air, and for soft, fleshy forms that sometimes have eyes or reveal hidden faces or figures. Max Ernst is a big influence, and Pavel Tchelitchew an obvious analogy, but the exquisite rendering and pervasive unquiet are Oelzes alone. Ubu Gallery, 416 East 59th Street, (212) 753-4444, through May 12. (Smith) Galleries: 57th Street * KATHY BUTTERLY: BETWEEN A ROCK AND A SOFT PLACE Although she is a little off her game here, this extraordinarily talented ceramic sculptor continues to impress with exquisitely detailed, radiantly colored, art historically aware, discreetly lascivious little pieces, especially if you have never seen her work before. Still, the question of whether it isnt time for a change hangs over the proceedings. Tibor deNagy Gallery, 724 Fifth Avenue, (212) 262-5050, through May 19. (Smith) Galleries: SoHo * GEGO, BETWEEN TRANSPARENCY AND THE INVISIBLE The artist named Gego was born Gertrud Goldschmidt in Germany in 1912, but lived most of her life in Venezuela, where she produced netlike drawings in ink and watercolor and what she called drawings without paper: semi-geometric, see-through, two- and three-dimensional pieces of twisted and knotted wires, suspended in space. Whether you think of them as grids gone haywire or as rational forms charged with emotion, theyre out of this world, and this survey gives a sense of what is distinctive and radical about Gegos art. The Drawing Center, 35 Wooster Street, Soho, (212) 219-2166, drawingcenter.org, through July 21. (Cotter) Galleries: Chelsea * PRIME TIME: MICKALENE THOMAS AND SHINIQUE SMITH A sparkling double-header by two very different artists with much in common. In paintings encrusted with rhinestones, Ms. Thomas gives 1970s pin-up portraits of African-American women the shimmer of Byzantine mosaics. Ms. Smith turns bundles of cast-off clothes into floral bouquets of exotic patterning. Caren Golden Fine Art, 539 West 23rd Street, (212) 727-8304, carengoldenfineart.com, through May 12. (Cotter) Galleries: Other * SOL LEWITT: DRAWING SERIES If the greatness of Sol LeWitt, the Minimal-Conceptual artist who died in April at 78, has so far escaped you, this show of 14 of his mind-teasing, eye-filling wall drawings from the late 1960s and early 70s may do the trick. Selected and arranged by the artist, they proceed in carefully sequenced contrasts and echoes that are both insightful and idiosyncratic. Since their generating instructions are part of their titles, they reduce the creative process to a short, highly visible straight line. But their crisp geometries, accumulating marks and radiating patterns force us to mind the gap between artistic thought and artistic action, to experience the inability of language to account fully for visual outcome. Dia:Beacon, 3 Beekman Street, Beacon, N.Y., (845) 440-0100, through Sept. 10. (Smith) * LILY LUDLOW Best known as a designer for Imitation of Christ and Somnus, Ms. Ludlow offers a handful of draftsmanly paintings for this solo show. Done on faint dark lines on a white ground, each group picture presents nude, semi-classical figures entangled in what appear to be ethereal, sadistic ballets. Canada, 55 Chrystie Street, Chinatown, (212) 925-4631, canadanewyork. com, through May 13. (Cotter) Last Chance DELPHINE COURTILLOT From O. Winston Link to Anna Gaskell and The Blair Witch Project, there are far too many borrowed bits in these large watercolors based on staged photographs of people in dark, desolate landscapes. But the larger question is why the images wouldnt do just as well in their original photographic form. Tilton Gallery, 8 East 76th Street, (212) 731-2221, jacktiltongallery.com; closes tomorrow.(Smith) * WALTER DE MARIA Counting and space -- important to both Minimal and Conceptual Art -- come together with unusual clarity, if a bit too much in the way of gleaming metal, in two large installations by the creator of The Lightning Field earthwork. Both pieces consist of several dozen shiny, meter-long stainless-steel rods presented in spaces that couldnt be much more pristine. Experience the spatial levitation and note the number of sides on the rods; in both cases, they increase row by row. Gagosian Gallery, 522 West 21st Street, Chelsea, (212) 741-1717, and 555 West 24th Street, Chelsea, (212) 741-1111, gagosian.com; closes tomorrow. (Smith) * JONATHAN LASKER One of the tortoises of 80s painting, this artist has cultivated his narrow abstract vocabulary without painting himself into a corner, and this latest show is one of his best. The usual asides to the history of abstract painting continue, as does the almost garish postmodern style, but there is more coherence in both single works and the group. Perhaps this is because Mr. Laskers hand and brush have always stayed in the picture, subverting yet partaking of traditional touch and surface. Cheim & Read, 547 West 25th Street, (212) 242-7737; closes tomorrow. (Smith) ORLY GENGER: MASSSPEAK More than three tons of nylon climbing rope knotted into mats and arranged in mounds that sometimes touch the ceiling add to the tradition of filling gallery space with unusual quantities of just one thing for an effect that is at once dour and hilarious, like a playground designed by a Welsh miner. Larissa Goldston, 530 West 25th Street, Chelsea, (212) 206-7887, larissagoldston.com; closes tomorrow. (Smith) * JONATHAN MONK: SOME KIND OF GAME BETWEEN THIS AND THAT As usual, this Conceptually inclined Scottish artist concentrates on sly tributes to, or plays on, works by other artists, among them Bruce Nauman, Chris Burden, John Baldessari and René Magritte. The slightest pieces are best, including drawings done on old books and The Cheat, in which this and that consist of an early silent film accompanied by a boom box tuned to a classical music station. Casey Kaplan, 525 West 21st Street, Chelsea, (212) 645-7335, caseykaplangallery.com; closes tomorrow. (Smith * MAY STEVENS: ASHES ROCK SNOW WATER The outstanding piece in this beautiful show of recent work is a mural-size painting of eddying water, the surface flecked with glinting bits of mica and amber, as if spirits were moving beneath the turbulence. Mary Ryan Gallery, 527 West 56th Street, (212) 397-0669; closes tomorrow. (Cotter) * TEMPORARY SERVICES: GROUP WORK Temporary Services, an inventive Chicago-based artists collective, was given the run of Printed Matters archives and came up with a fascinating selection of collectively published materials covering several decades. In addition, the group has installed a photographic installation that touches on the many things that group may mean, from Apostles, to Immigrants, to Upper Class. Printed Matter Inc., 195 10th Avenue, at 22nd Street, Chelsea, (212) 925-0325; closes tomorrow. (Cotter) * WHITNEY MUSEUM OF AMERICAN ART: LORNA SIMPSON This tight, refined and impassioned survey covers more than 20 years of Lorna Simpsons career, from her photo-and-text meditations on race and sexism in the 1980s, to her more recent short films, which unite American history and personal history in forceful and lyrical ways. It would be easy to put some of this work on a shelf as identity art, but with an African-American woman holding one of the highest offices in the United States government, an African-American man running for president, and the nation embroiled in what some people view as an ethnic war, this art is entirely of the moment. (212) 570-3676, whitney.org; closes tomorrow. (Cotter)

Eurovisions Next Top Male Model 2015: Semi-final results

The contestants competing at Eurovisions Next Top Male Model 2015 all want to win. But only 16 have made the final.

Are Olympic TV Rights Worth the Price?

LEAD: Is the International Olympic Committee in danger of killing the goose that laid the golden egg? I believe so, unless the I.O.C. rethinks its objectives and procedures regarding Olympic television.

Eurovision 2015 results: From Swedens win to Germany and Austrias wooden.

Favourites going into the competition and overall winners of the Eurovision Song Contest 2015 were Sweden. They stormed to victory scoring a massive 365 points sweeping the board throughout Europe. It was a close competition between Sweden and .

Nigella Lawson to serve up UKs Eurovision scores | Media.

Nigella Lawson will represent the UK at the Eurovision Song Contest. Not by singing ��� although that would be fun ��� but by reading out the results of the nations voting live from London for this Saturdays annual jamboree in��.

Theyre So Lively: Too Bad Theyre Dead

A riff on death and the sad game of living, Hanafuda Denki (A Tale of Fantastic Traditional Playing Cards) begins with a bang and a statement (delivered in English) that quickly proves true: Ladies and gentlemen, its showtime! Cue the kick line and the first big, brassy number, House of the Dead. Thats also the name of the funeral parlor in Tokyo where the action takes place. And heres the twist: its run by a family of very lively dead people. Even their cat is dead, were told. And so, for good measure, is their goldfish. Trouble arrives when the daughter of the house -- I hate the dead, she proclaims -- falls for a living boy, Kitaro of the Graveyard, and the two worlds, dead and alive, start mixing it up.. Rachel Saltz reviews Shuji Terayamas musical Hanafuda Denki (A Tale of Fantastic Traditional Playing Cards) as part of the New York International Fringe Festival at Here Arts; Saori Aoki directs. Photo (M)

A Message for Mankind From Telstar; Professor Toynbee studies it and discovers something more important than a sign of scientific progress. It offers new hope for the survival of the human race. A Message for Mankind

ON July 11 a live television broadcast was transmitted, across the Atlantic by way of a man-made satellite called Telstar. Obviously, this is one of the triumphs of applied science; but here the layman is in the dark.

Eurovision 2015 votes DISQUALIFIED: Montengro and Macedonias results.

Montengro and Macedonias voting results have been disqualified after it was discovered the two countries used votes from the televoting to account for 100% of the countrys votes, rather than 50% with 50% coming from a jury, as is required. The.

Books of The Times; Explorer Keeps Getting Lost

PERHAPS it was to ward off the evil eye. Or maybe we wanted to set a standard against which anything at all would seem an improvement. Whatever the reason, it somehow seemed appropriate to send out the old decade and ring.. Pile, Steven: The Incomplete Book of Failures reviewed by C Lehmann-Haupt