The fourth annual Southampton Jewish Film Festival, a program of seven films, most accompanied by guest speakers, will open on Tuesday at 7:30 p.m. at the Southampton Arts Center with “Sholem Aleichem: Laughing in the Darkness,” a portrait of the writer, whose stories became the basis of the Broadway musical “Fiddler on the Roof.” The evening’s speaker will be Kenneth Kaufman, the author’s great-grandson. 

The festival will continue on Tuesday evenings through Aug. 21. The complete schedule can be found at southamptonjewishfilmfestival.com. Tickets are $15 and available at brownpapertickets.com.

In Sag Harbor, Temple Adas Israel is hosting Erev Seret (Movie Night), a series of free screenings with themes drawing on Jewish and Israeli culture and history. Next up is “1945,” a Hungarian film about two Orthodox Jewish men who return to their village in Hungary soon after the end of World War II only to encounter suspicion and fear of their motives. Now in limited release, “1945,” which has been shown in numerous festivals in the United States and abroad, will be shown on Wednesday evening at 7.

Upstairs Art Fair

The second iteration of the Upstairs Art Fair will take place tomorrow through Sunday on the top floor at 11 Indian Wells Highway in Amagansett. The fair is organized by Harper Levine of Harper's Books in East Hampton and Bill Powers, the founder of half gallery in Manhattan, as an alternative to the big tent art fairs that until this summer have been common to the Hamptons.

The fair, which is free and open to the public, is a mix of New York City and East End galleries: Ceysson & Benetiere, Eric Firestone, half gallery, Halsey McKay, Harper’s Books, Magenta Plains, New Release, Nicelle Beauchene, Nino Mier, Rachel Uffner, Rental Gallery, the Fireplace Project, yours mine & ours, and 56 Henry.

A preview will take place tomorrow from 4 to 6 p.m., with an opening to follow between 6 and 8. The fair will be open Saturday and Sunday from 11 a.m. to 5 p.m.

Naama Tsabar at Fireplace 

A solo show of work by Naama Tsabar will be on view at the Fireplace Project in Springs from tomorrow through Aug. 5, with a reception set for Saturday from 6 to 8 p.m.

A former member of a punk band, Ms. Tsabar fuses elements from visual art and music in her multimedia installations and performances. Her 2015 installation at the Museum of Art and Design, for example, combined speakers, amplifiers, piano strings, and microphones to create a gallery-sized instrument that viewers could play by pulling the piano strings.

Two at Studio 11

Studio 11 at the Red Horse Plaza in East Hampton will open an exhibition of work by Steven Miller and Ronald in ’t Hout with a reception on Saturday from 5 to 7 p.m. The show will continue through Aug. 5.

While much of Mr. Miller’s earlier steel sculpture assumed totemic shapes and scale, his recent work uses that material to create simple forms in three dimensions that take their cues from Russian Constructivism and de Stijl.

A Dutch artist and architect living in France, Mr. Hout is showing tempera paintings on canvas and wooden panels that can stand on their own or be arranged in a variety of formal combinations.

Marc Dalessio at Grenning

A solo show of paintings by Marc Dalessio will open at Greening Gallery with a reception Saturday from 6:30 to 8 p.m. and remain on view through July 30. A plein air painter based primarily in Florence, Mr. Dalessio recently spent several weeks on the East End painting local scenes ranging from Main Street in Sag Harbor to Indian Wells Beach in Amagansett to the East Hampton Jitney stop.

The show will also include works created on his frequent travels, including a sweeping view of Big Sur, and a selection of still life paintings from Mr. Dalessio’s studio.

Five at White Room

“Captivate,” an exhibition of work by five artists, is on view at the White Room Gallery in Bridgehampton from today through July 29, with a reception set for Saturday from 6 to 8 p.m. The show will include abstract paintings by Linda Sirow, Brian Craig, and Martha McAleer, mixed-media work by Kat O’Neill, and sculpture by Dennis Leri.

“Lyrics and Form”

“Lyrics and Form,” a group exhibition, is now on view at Mark Borghi Fine Art in Bridgehampton. The show includes work by John Chamberlain, Willem de Kooning, Sam Francis, 

Helen Frankenthaler, Sam Gilliam, Keith Haring, Hans Hofmann, Kenneth Noland, Alex Katz, Hedda Sterne, Rudolf Stingel, Sean Scully, and Andy Warhol. 

New at Keyes Art

Keyes Art in East Hampton will open “Indispensable” with a reception Saturday from 6 to 8 p.m. The show, which will run through Aug. 4, will include work by John Chamberlain, best known for his crushed car sculpture, Nathan Slate Joseph, who creates abstract compositions of galvanized steel, and David Slivka, a member of the New York School who worked in a broad range of mediums.

The gallery’s current exhibition, “About the Light,” which features paintings by Willem de Kooning, Mary Abbott, Lester Johnson, and Darius Yektai, will continue through July 29.

In Agawam Park

“Art in the Park,” a show of photography, painting, sculpture, and mixed-media work by members of the Southampton Artists Association, will be on view in Agawam Park in Southampton Saturday and Sunday from 10 a.m. to 6 p.m.

If the word of mouth hasn’t reached your ears yet, there is an exhibition in East Hampton that incorporates the best of virtual reality in visual art today, taking it to a place that automatically sets the bar higher and redefines its possibilities as an artistic medium.

Laurie Anderson’s “Aloft” and “Chalkroom,” which are being offered this summer at sites as diverse as North Adams, Mass., and Tasmania, in addition to Guild Hall, were created with Hsin-Chien Huang, a Taiwanese artist she first met in the early 1990s. “Chalkroom” won the premiere award for best VR experience at the Venice Film Festival last year.

It was Mr. Huang’s idea to collaborate on the project, she told The Sydney Morning Herald: “I don’t really like the bright, flat, and brittle gaming world.” She wanted something “dustier, weirder, and more like being in your own mind.” The result was “Chalkroom.”

“Chalkroom” offers several choices of experiences, different rooms, and opportunities to fly. “Aloft” is more straightforward. As you’re seated on a plane, it breaks apart and you are free to float in the atmosphere as objects loom toward and around you. 

In the past few years, some less commercial art fairs have hosted galleries that presented VR pieces, marked by that super-bright gamelike quality Ms. Anderson described. One piece at last year’s Whitney Museum of American Art Biennial exhibition attracted attention for its violent subject matter. Jordan Wolfson’s “Real Violence” created a street scene in which a virtual beating takes place. The world of Ms. Anderson and Mr. Huang, however, is truly one of their own invention.

Taken out of context, each VR experience can stand on its own. Guild Hall could have presented them that way as well, a summer sideshow to another entirely different exhibition. Instead, Christina Strassfield, the director of the museum and its chief curator, devotes the other main gallery to large-format drawings from Ms. Anderson’s series “Lolabelle in the Bardo,” inspired by the death of her dog in 2012 and her dedication to the practices of Buddhism. There is also a video viewing room where patrons can lounge on giant beanbags or sit on benches along the back wall while a selection of her video work is played. Included is “Heart of a Dog,” a feature-length meditation that explores love and loss through an expressionistic tableau of her own musings, facts and figures, artwork, and more Buddhist teachings. 

When considered in this milieu, the VR pieces seem more akin to reflections on the afterlife. With “Aloft,” it is hard not to think of the crash of TWA Flight 800 (which took place some two decades ago just 35 miles away in the water off East Moriches) as the walls of the aircraft begin to dissolve. The crash caused many to wonder what it felt like to be suspended in the sky before falling into the sea. This piece offers a chance to contemplate that experience anew in a far less terrifying way. In “Chalkroom,” the user chooses the experience, but the otherworldliness of the rooms conjures a post-death landscape, perhaps an in-between state not unlike the Bardo. 

Her charcoal drawings, each 11 by 14 feet, with their explanatory text accompaniment, could be a large-format adult picture book. They are immersive and larger than life in many instances. In “June 5,” Lolabelle’s giant rat terrier face looms over the space. Other drawings, each titled with a date after the dog’s death, depict various stages of her passage through the Bardo.

Anyone who has lost a significant other, best friend, close relative, or treasured pet (or all of the above) will come away from these experiences, particularly the “Heart of a Dog” film, woozy and somewhat untethered. Encountering them all in the same afternoon can be overwhelming, but worth the disquiet that might result. Ms. Anderson is a mesmerizing guide and tracker in these worlds she has created. She speaks to a part of the brain that seems deeper than waking consciousness. Those who follow her will be richer for the experience and perhaps subtly transformed by these series of worlds, even after they re-emerge into the bright light of a summer day.

After taking a while to catch on, there are now often waits for the VR experiences, which can be reserved through Guild Hall’s website for specific time slots. It is well worth reserving and going before the exhibition closes on July 22.

Lana Jokel’s many documentaries on modern and contemporary art and artists include films about Larry Rivers, Claes Oldenburg, Howard Kanovitz, and Elizabeth Strong-Cuevas, as well as two studies of Chinese contemporary art. 

“The Way It Goes,” a film about the life and creative process of Nathan Slate Joseph, who cuts, bends, and welds rusted sheets of steel into vibrant shapes and wall reliefs, will be shown Thursday at 7 at the John Jermain Memorial Library in Sag Harbor. Ms. Jokel and Mr. Joseph will be present for a discussion after the screening. Reservations have been requested for the free program.

And then on Monday, Ms. Jokel’s 1973 film “Andy Warhol” will be shown at 7 p.m. at the Southampton Arts Center. Through exchanges with Philip Johnson, Barbara Rose, and other art world luminaries, it shows Warhol at his most talkative, holding forth on life, society, money, and art. A discussion between Ms. Jokel and Bob Colacello, former editor of Warhol’s Interview magazine, will follow. Tickets are $15.

Both programs are presented in partnership with the Hamptons Take 2 Documentary Film Festival.

Caroline Doctorow and her band, the Ballad Makers, return Saturday with another concert “featuring the American Songbook and other stories,” according to a flier. The show, at 7:30 p.m. at the Bridgehampton Museum’s archives building, will highlight dueling fiddles, and the roots rockers the Spaghetti Westerners will join in as guest musicians.

Tickets are $20 at the door.

What is the most wonderful aspect of the guitar? If you ask a guitarist, the answer may be all of them.

“There’s no end to what you can do with this instrument,” B.B. King told students in a workshop at Tufts University 35 years ago. “There’s very few people I’ve met who have really mastered it.”

The late blues guitarist and singer was one of the true innovators, developing an inimitable vibrato as a means to replicate the sound of the bottleneck slide on steel strings. In his hands, his beloved “Lucille” did not just sing. It screamed, purred, moaned, spat, and howled, too, expressing just about every emotion human beings have experienced.

There was also Jimi Hendrix, and Roy Buchanan, and Jimmy Page, and Andy Summers, and Jeff Beck, and Eddie Van Halen, and Keith Richards, and Wes Montgomery, and Richard Thompson, and Stevie Ray Vaughan, and George Harrison, and George Benson, and the Edge, and Robert Fripp, and so many more who, each working with the same instrument, developed a sound all their own.

“Guitar is an endlessly fascinating instrument,” Mr. Summers, formerly of the innovative rock ’n’ roll band the Police, said last week from Brazil, where he was on tour. “You’ll get your style and play within it, but like all instruments, and music, there are infinite possibilities. It’s what keeps you going.” 

“The guitar is the most popular instrument in the history of the world,” said G.E. Smith, who lives in Amagansett. “Because you can play chords and single-line melodies, it’s a great accompanying instrument, and it’s a great soloing instrument. It’s really the only instrument of its kind that you can do all that stuff with.”

The guitar is also portable. “I started hitchhiking at a very young age,” said the Israeli guitarist and singer David Broza, “and realized I couldn’t carry anything but a Spanish guitar on my back.” In this way, he was able to absorb influences far and wide, out of which came “a concoction, a fusion of the esoteric, deep, cultures” he was exploring. 

Guild Hall in East Hampton will celebrate the astounding artistry of the guitar next week with the first Guitar Masters festival. From next Thursday through July 7, the venue will host ticketed performances by Mr. Summers (with Ralph Gibson, next Thursday); Mr. Thompson, formerly of Fairport Convention (with his son, the singer and songwriter Teddy Thompson, and Mr. Smith, Friday, July 6), and Mr. Broza and the guitarists Badi Assad and Brandon Ross (July 7). Guest appearances are promised throughout the festival. Show time for each concert is 8 p.m. 

Each day will also feature a film. “Can’t Stand Losing You: Surviving the Police,” Mr. Summers’s thrilling autobiographical documentary, will screen next Thursday, preceded by the short film “Music for Lens and Guitar” by Mr. Gibson. The next day will see a screening of “Badi,” a documentary about Ms. Assad and her career, preceded by “The History of the Electric Guitar,” in which Mr. Smith documents the title in a single song. “East Jerusalem/West Jerusalem,” in which Mr. Broza delivers a message of equality and unity as Israeli and Palestinians make music together, will be shown on July 7. All films will screen at 4 p.m.

Also on July 7, Guild Hall will host a talk by the luthier Ken Parker and a book signing with Galadrielle Allman, daughter of the late guitarist Duane Allman, at 10:30 a.m. 

Mr. Summers had spent more than a decade as a musician in London and Los Angeles when he joined Sting and Stewart Copeland in the Police, in 1977. “It was a life-changing experience,” he said, one that included “every emotion you can imagine, from deep loving to ultra violence.” Throughout it, though, “the centerpiece to me was the guitar playing. I had to play very well. That’s one reason the band was as good as it was. We were a very famous rock band, but a very good rock band . . . and playing well required maintenance. In other words, practice your bloody instrument.”

“Practice or die!” echoed Mr. Thompson, who will perform and talk with his son in “Portraits,” a series hosted by Mr. Smith. The guitar, he said, “is still an exploration. There are always possibilities on the instrument. If you’re not looking for those musical possibilities you’ve died as a musician. . . . It’s amazing how people have managed to bend the guitar in so many directions.”

Mr. Smith described “Portraits” as “music and conversation, not an interview by any stretch; we play as if we were sitting around in a living room, some guys with guitars.” He called himself “a huge Richard Thompson fan,” who he said is “one of the few guys who is equally great on electric and acoustic guitar — not too many others have been able to do both equally as good.”

Mr. Thompson, said Teddy Thompson, is among the guitarists who worked to develop their own sound, something that “is rarer and rarer,” he said. “A lot of the people at this show” — Guitar Masters — “have their own sound.”

For his part, Teddy Thompson called himself “just a strummer for a long time,” picking up the instrument for accompaniment. “I was that guy who strummed along for ages, and was too scared to get into anything fancy. But there’s so much to learn.”

The influence of early rock ’n’ roll is evident in his music. “The Everly Brothers — theirs was the first music that stopped me in my tracks,” he said. Sounds reminiscent of Don and Phil Everly, and Buddy Holly — guitarists, to a man — come to life in his music. “The guitar playing on all those records is not to be underestimated,” he said. “It’s so, so great. Talk about playing the right thing for the song.”

“David and myself, we have some similarities,” Ms. Assad said of Mr. Broza. “Both are guitar players, singers, composers, but we also have this extreme energy onstage. We perform like, ‘This is it, there is no tomorrow.’ ”

The younger sister of the celebrated guitarists Sergio and Odair Assad, she played the piano as a child, and might have lived in her brothers’ considerable shadow. But as their careers took off, the siblings’ father, an amateur musician who played the bandolim, a stringed instrument that evolved from the mandolin, had no one to play with. “So he invited this 14-year-old girl that spent her entire childhood trying to get the attention of this man” to accompany him on guitar. “For sure, I was very much influenced by my brothers,” she said. “But I had my own thirst, a craving for what this instrument is about.” Ms. Assad has taken the guitar on her own path, “my own melange of what I was interested in. I wasn’t searching for a specific thing, I was searching for my own thing. I didn’t know what it was. But it came naturally.”

“I’ve been playing for 50 years,” Mr. Broza said. “All these years, there isn’t a day I don’t have to renew a commitment to perform exercises, then experiment, then write new stuff, and it’s a little more demanding than my technique allows, so I have to improve.” 

“It’s a mystery, how you can find your own sound,” Ms. Assad said. “It’s a mix of so many things — your personality, your dedication, your creativity, your own bravery, trying new stuff.” 

For these musicians, the thrill has most definitely not gone, to misquote B.B. King’s 1969 hit. Theirs is a lifelong love affair carried out in public, in recordings and performance. “It’s amazing,” Mr. Smith said. “I’ll get up, it doesn’t matter if I’m feeling slow and tired, I’ll pick up the guitar, always. People ask me, are you nervous when you go out in front of 25,000 people? That’s the only time I’m not nervous. The rest of the time, I’m nervous! But I put that guitar on and I’m okay. It’s all I ever did since I was little kid. That’s home.”

I’ll pick up the guitar, always. People ask me, are you nervous when you go out in front of 25,000 people? That’s the only time I’m not nervous. The rest of the time, I’m nervous! But I put that guitar on and I’m okay. It’s all I ever did since I was little kid. That’s home.”

Tickets for Guitar Masters, produced by Taylor Barton, can be purchased individually for the concerts, films, and talks, and are available at the box office or at guildhall.org. A limited number of all-access passes are also available for the full weekend of events, including V.I.P. seating, access to the catered V.I.P. lounge, and entry to win a limited-edition Fender G.E. Smith Telecaster electric guitar.

Pollock-Krasner Lectures

The Pollock-Krasner House’s annual Lichtenstein Lecture Series will begin on Sunday afternoon at 5 with “Pollock’s Density,” a free talk and book signing by Michael Schreyach, the author of “Pollock’s Modernism,” which was published in September by Yale University Press. The talks will take place at the Arts Center at Duck Creek in Springs.

Future lectures will examine Samuel Kootz and the Kootz Gallery, “The Natures of Arp,” “Calder: The Conquest of Time,” “The Case of the Missing Renoir,” and the influential gallerist Richard Bellamy.

At Roman Fine Art

“Art Market Summer Group,” an annual survey of contemporary art, is on view at Roman Fine Art in East Hampton through July 30. A reception will take place on Friday, July 13, from 6 to 8 p.m. The exhibition ranges from graffiti-based work to elaborate photographic compositions to Pop-influenced pieces that engage internet fame to objects that blend high-fashion influences with traditional craft techniques. 

Participating artists are Ray Caesar, Tim Conlon, Michael Dweck, the Kaplan Twins, Reisha Perlmutter, Dalton Portella, Dean West, and Stephen Wilson.

New at Boo-Hooray

Boo-Hooray Summer Rental in Montauk will show drawings, photographs, and silkscreened posters by the Swedish artist Carl Johan De Geer on the occasion of his 80th birthday. The exhibition will open on Saturday and run through July 20.

Mr. De Geer was part of the underground culture of Sweden in the 1960s. A leftist, his posters were made for demonstrations and city walls, and in 1967 several of his political posters, including one of a burning Swedish flag, were confiscated from a gallery exhibition and destroyed by Swedish police. 

Jane Martin in Quogue

An exhibition of work by Jane Martin, a photographer and multimedia artist from East Hampton, is on view at the Quogue Library through July 30, with a reception set for tomorrow from 5:30 to 7 p.m.

Forces of nature, among them water, fog, and the female form, are a central theme of Ms. Martin’s work. Her photographs range from the figurative to the abstract and include dramatic images of the surf of the East End, abstract reflections of the Australian landscape, and swirling vortices of fog.

Barn Show

For the fourth consecutive year, the Johannes Vogt Gallery on Manhattan’s Lower East Side will present a group exhibition at a private property in East Hampton. “The Barn Show” will open on Saturday with a reception from 6 to 8 p.m. and continue through July 29.

The 18 artists include Walter Robinson, David Wojnarowicz, Ned Smyth, and Joel Mesler, who moonlights as the owner of the Rental Gallery in East Hampton. More information, including directions to the exhibition location, can be obtained by emailing [email protected] or calling 212-226-6966.

At MM Fine Art

MM Fine Art in Southampton will host the second annual summer exhibition of the Forum Gallery, which was founded in New York City in 1961, from today through July 15. The work on view ranges from the realistic paintings of Alan Magee, Davis Cone, and Robert Cottingham to enigmatic compositions by Alyssa Monks that combine portraiture and landscape to the nature-based abstract paintings of Brian Rutenberg, who lives in Southampton.

Creatures at CMEE

The Elaine Benson Gallery at the Children’s Museum of the East End in Bridgehampton will open a new group show, “Creatures Large and Small,” with a reception on Saturday from 4 to 7 p.m. The exhibition will continue through Aug. 14. Participating artists are Michael Albert, Scott Bluedorn, Rossa Cole, Kimberly Goff, Louise Greenwald, Erica Lynn Huberty, Edward Joseph, John Okas, Patricia Paladines, Dalton Portella, Kerry Sharkey-Miller, and Mike Stanko.

Four at Kramoris

The Romany Kramoris Gallery in Sag Harbor will feature work by Lianne Alcon, Suzzanne Fokine, Ghilia Lipman-Wulf, and Muriel Hanson Falborn from today through July 26. A reception will be held on Sunday from 5 to 6:30 p.m.

Ms. Alcon brings an expressionistic approach to her paintings of people and cityscapes. Ms. Fokine sees her shimmering seascapes as “a form of music.” The colorful semi-abstract paintings of Ms. Lipman-Wulf bring to mind the work of Matisse and Chagall. Flowers figure prominently in many of Ms. Falborn’s vividly expressionistic paintings.

When the Thomas and Mary Nimmo Moran Studio celebrates its rebirth tomorrow it will represent the culmination of almost five years of painstaking restoration of the National Historic Landmark that was one of the first artist studios on the East End of Long Island. 

Located in East Hampton’s Main Street Historic District, the Queen Anne-style structure, which dates from 1884, was driven to the brink of ruin by Superstorm Sandy in 2013. 

“It shook the house,” said Richard Barons, chief curator for the East Hampton Historical Society. “The sills in the front collapsed, the turret fell five to six inches, the ceiling collapsed. The front of the house was bowing slightly. They put 2x4s there and created buttresses, but within a month the buttresses began to bend.”

When an engineer told the board members of the Thomas Moran Trust that six inches of wet snow would cause the building to collapse, they decided to use the funds in the trust’s treasury to begin a full-scale restoration.

A painter of the Hudson River School, Thomas was known for his dramatic depictions of the Western landscape, which were pivotal to the creation of Yellowstone National Park. Mary, who also specialized in landscapes, was an internationally recognized master of the etching medium. They rented in East Hampton for several summers before buying the land on Main Street in 1882.

What visitors to the studio will discover tomorrow is a multifaceted exhibition that illuminates the life, art, and environment of the Morans. “We didn’t want the studio to be a traditional historic site where you’re just seeing the decorative arts of the period,” said Maria Vann, the executive director of the historical society. “We wanted to bring some modern perspective, some technology, and some different exhibit elements to make this a lively place.”

While the original house consisted of the ground-floor studio and upstairs bedrooms, with a kitchen added a few years after the Morans moved in, it was the high-ceilinged studio that was the center of the family’s life and is today the focal point of the exhibition. 

Three landscape paintings hang on the north wall of the studio, two by Thomas, and one by Mary in which the Hook Windmill is visible in the distance. Two large etchings, one of which, by Mary, features Town Pond, adorn the east wall. 

“It’s a museum, but at the same time we have a sense of place, so you can imagine the Morans being here in this large space, painting, or having visitors. It was very much a salon-style studio where there was art from ceiling to floor and things the Morans collected from all over the world,” Ms. Vann said.

The walls of a mezzanine that overlooks the main studio are hung with etchings, just as they were when the Morans lived there. “Probably 60 percent of the artwork that will be displayed is part of the gifts their daughter Ruth Moran gave the library and Guild Hall,” said Mr. Barons. “So the gifts are coming back to where they started.” Museums, libraries, and private collections will lend other artworks.

The four bedrooms will be open to the public but are a work-in-progress. While the master bedroom and their daughter’s bedroom will gradually be restored with period furnishings, the other two will probably house small changing exhibitions, according to Mr. Barons. The former kitchen, which was added to the rear of the original house, has been repurposed as a modern gallery space. 

Thomas Moran designed the building with a carpenter; there was no architect. “When Moran was building this, that was a time when a whole lot of Greek Revival, Federal, and Italianate row housing in New York City was being torn down to build new, safer brownstones,” said Mr. Barons. Thomas salvaged many of the architectural elements, including windows, doors, pilasters, and newel posts, which could be transported as far as Bridgehampton by rail.

Stacy Myers, the director of education, is developing curriculum-aligned programs that will go into effect when school resumes in the fall. “This hits the curriculum in a lot of different places,” said Ms. Vann, “including local history, art, science, and culture.” 

Tickets to the opening celebration, which will take place from 6 to 8 tomorrow evening, start at $150. All proceeds will support the studio’s educational programs, exhibitions, and museum programming. 

The studio will be open Thursday through Saturday during the summer, with tours led by Mr. Barons daily at 11:30 a.m. and 2:30 p.m. Because of the limited parking area, groups will meet at Clinton Academy on Main Street and get a short walking tour that will orient them by the time they reach the studio.

Admission is $10, $5 for students, and free for historical society members.

The Choral Society of the Hamptons will present as its summer concert Carl Orff’s “Carmina Burana,” regarded as the composer’s masterpiece and one of the most frequently performed choral works of this century, in two performances Saturday, at 5 and 7:30 p.m. at the Bridgehampton Presbyterian Church.

Led by Mark Mangini, its music director and conductor, the chorus will be joined by three soloists, Chelsea Shepherd, soprano, Alex Guerrero, tenor, and Dominic Inferrera, baritone. Two pianists, Konstantin Soukhovetski and Matthew Maimone, and five percussionists will provide instrumentation. Students from Pierson Middle and High School will participate as the “Ragazzi,” or children’s choir.

Orff derived his text for the cantata, whose title translates as “Songs of Beuren,” from a 13th-century manuscript containing songs and poems that was discovered in 1803 at a Bavarian monastery. From the 1,000 songs, which presented a varied view of medieval life and included social satires and drinking songs, Orff selected 24, which he arranged into a prologue, an epilogue, and three parts.

After “Carmina Burana” premiered in Frankfurt in 1937, when Orff was 41, he wrote to his publishers, “Everything I have written to date . . . can be destroyed. With ‘Carmina Burana’ my collected works begin.” Though he was considered a leftist in the 1920s and collaborated extensively with Brecht, by the 1940s “Carmina Burana” was one of the most popular pieces in Nazi Germany, and he continued to be active as a composer under the Nazis.

In an interview broadcast by NPR, Marin Alsop, an American conductor and violinist, described the cantata as “a spectacle. It’s very hard to categorize, and that was Orff’s intent. He wanted it to be a piece for all of the senses: to hear the voice, to hear the words, to experience this enormous orchestra . . . there are so many different varieties of musical styles that come into play.”

Tickets, which are available through the society’s website and at Romany Kramoris Gallery in Sag Harbor, are $30 in advance and $35 at the door, with youth tickets $10 in advance and $15 at the door. Preferred seating can be had for $75. 

The Choral Society of the Hamptons is an auditioned chorus that performs with professional conductors, orchestras, accompanists, and soloists from throughout the metropolitan region. It has presented high-quality choral music on the East End since it was founded in 1946 by the late Charlotte Rogers Smith, a local choir director.

“Baby, Dream Your Dream” will bring the music of six legendary women writers of the Great American Songbook to Guild Hall on Sunday at 7 p.m. The 75-minute revue has been created and will be hosted by Deborah Grace Winer, a dramatist, writer, producer, and leading expert on American music and musical theater.

Accompanied by a jazz trio, the singers Karen Ziemba, Margo Seibert, and Natalie Douglas will perform standards by Marilyn Bergman, Dorothy Fields, Mary Rodgers, Jeanine Tesori, Betty Comden, and Carolyn Leigh. Tickets are $40 to $75, $38 to $70 for members.

Zoe Sarnak, an award-winning singer-songwriter of musical theater, rock, pop, soul, and folk music, will perform with an ensemble of collaborators from the theater and music worlds next Thursday at 8 p.m.

Ms. Sarnak’s combination of music and theatrical storytelling has been performed at the Public Theater, Playwrights Horizons, 54 Below, and the Highline Ballroom, among other venues. Tickets are $22 to $55, $20 to $53 for members.

“Lessons of Humanity: What My Grandfather Taught Me,” a performance by Samite, a renowned musician, humanitarian, and photographer born and raised in Uganda, will take place Friday, July 13, at 8:30 p.m.

A master of both traditional African and western musical instruments, Samite left Uganda as a political refugee in 1982 and emigrated to the United States in 1987. His multicultural songs reflect on childhood, motherhood, marriage, African village life, politics, and peace. Tickets are $22 to $55, $20 to $53 for members. M.S.