Author: Mary Beth

Now playing at the Shubert Theatre on Broadway.

Few theater experiences are so alienating as the feeling that you and the rest of the audience are at odds. If the difference is slight, you can get caught up in the crowd, enjoying the production—or not—more than you otherwise would. But if the difference is more significant—they’re laughing, and you’re cringing; they’re sighing, and you’re sneering—the opposite tends to occur. The chasm grows larger as you become more self-conscious and resentful of the disconnect.

Or maybe that’s just me and my socially maladjusted family. My parents were visiting, and Mom wanted to see the new star-studded revival of Noël Coward’s Blithe Spirit, which she first encountered back in a high school drama production when she was the understudy to Edith the maid. (Hee!) We all enjoyed the play—Mom, Dad, Sean, and me—to varying degrees, but honestly, Coward’s humor is wry: a classic dry, British wit, yes? It’s the sort of humor that makes you (and by you, I mean Mom, Dad, Sean, and me) grin and snicker, not howl and slap your leg and drown out the next five lines with your guffaws, so why in the world was the rest of the audience acting like we’d all been heavily dosed with nitrous oxide?

Chanticleer at the Metropolitan Museum of Art on Wednesday, April 15.

I thought I knew exactly what would be on Chanticleer’s program of American choral music: a few shape-note hymns, some folk songs and spirituals, one or two works by big twentieth-century names such as Barber or Copland, and another couple of pieces the choir itself has commissioned over the years. I was right, to a degree—those were all on the program—but I foolishly underestimated the choir’s bent toward venturing past standard repertory.

In addition to the expected selections, Chanticleer sought out traditional seventeenth-century liturgical music written by immigrants to New Spain and also featured a striking work by Brent Michael Davids, an American Indian composer who draws heavily on indigenous musical traditions. Even the “folk songs and spirituals,” my careless catch-all, proved more varied in style than I had so casually anticipated. Taken together, the mix beautifully accomplished what must have been the goal: to celebrate just how wildly diverse America’s musical heritage truly is.

Pomerium at the Cloisters on Saturday, April 11.

Now that I no longer spend my Sundays working as a church organist, I make it a point to go to a seasonally appropriate concert each Easter weekend. Two years ago, it was Bach’s St. John Passion, and last year, it was a program of liturgically timely Renaissance motets, performed by Pomerium. This year, too, Sean and I trekked up to the Cloisters to hear the early music choir sing the works of Gesualdo and Monteverdi and Byrd and others.

Pomerium truly is an amazing ensemble: beautiful tone, beautiful blend, and an impeccable understanding of the fifteenth- and sixteenth-century works in which they specialize. Their clear, round voices perfectly articulate the polyphonic lines, and their sonorous unisons enfold you with their warmth.

At the Blue Note on Thursday, April 2.

For a few minutes, a specter hangs over the Preservation Hall Jazz Band. The hall from which it hails was founded in the 1960s specifically to preserve the tradition of New Orleans jazz, hence the name, but now, with the memory of Hurricane Katrina still bitingly fresh, New Orleans itself seems vulnerable, its unique culture that much more so. When the musicians first start to play, you feel a tense sort of melancholy, like when you visit someone on the brink of death, but then the music is so spirited and vivacious, so animated, that the specter vanishes and you realize that, however dark times might have been, however dark they might still be, New Orleans jazz is simply too lively to ever keel over.