The Christian Science church in Southampton will present its annual Christmas concert and carol sing on Saturday at 3 p.m. Ron Meixsell, a baritone, and Julie Ann Meixsell, a soprano, who live in Northport, will be the featured performers.

Mr. Meixsell, said to be as comfortable with German lieder as with opera and Broadway, has appeared at Lincoln Center and performed leading roles with operas, symphony orchestras, and choral societies in New York City and throughout the Northeast.

Ms. Meixsell toured nationwide with a nine-piece ensemble in a performance produced by Neil Diamond and recorded on Columbia Records. She has often performed solo concerts in the Washington, D.C., area as well as in churches throughout the Northeast and with the Long Island String Quartet.

Refreshments will be served after the free event.

The Sag Harbor Whaling Museum will hold its second annual holiday cocktail party and fund-raiser on Saturday from 5 to 7 p.m. Drinks, hors d’oeuvres, and live jazz by Steve Shaughnessy will be on offer in the festively decorated Sage Parlor, and Barbara Hadden and Michael A. Butler’s “Our Town” exhibition will be on view for one night only. Tickets are $25 and can be purchased at the museum’s website.

Bay Street Theater has announced that “Grey Gardens: The Musical,” which played last summer at the Sag Harbor venue, will enjoy a new production next summer at the Ahmanson Theater in Los Angeles. Produced by the Center Theatre Group, the production will feature the same lead actors, Betty Buckley and Rachel York; the director Michael Wilson, and many of the same elements as the Bay Street show.

It’s not too surprising to see that Susan Ecker spent an extra year studying art history after receiving her M.F.A. in drawing and painting. Her subject matter teems with classical, neo-classical, and postmodern references in the show now on view at the Peter Marcelle Project in Southampton.

It opens with a beautiful piece in paint and mixed media, what looks like a blend of crayon and pastel with oil. Called “Rembrandt’s Women,” it hints at female bathing figures, but they are faded and ghost-like, overwhelmed by a variety of deeply jewel-toned plant life. The calling out of Rembrandt in such a pretty and feminine treatment plays with expectations and announces that the artist has made the old master’s subject matter her own.

The figures and presumed focus of the painting seem like they could be pentimenti or some other bit of unfinished business, but they are no less defined and completed than the rest of the canvas, which has hints of setting and decor but nothing too specific. The hard lines of crayon or pastel, not smoothed away by brush and paint, give the oil on canvas a faint look of early Renaissance fresco, like a Masaccio that has been weathered or damaged over time. The artist appears to be drawing a line from the ancients through the Renaissance to Dutch Baroque to her own easel.

It happens again and again with different subjects, high-relief friezes from classical buildings, “Players” who are presumably acting but are often depicted nude and at rest, horses that look modern but also have a long presence in art history, and generalized landscapes. Ancient types in modern spaces and modern types in classical drapery are all dream-like and confounding, but also harmonious and balanced.

In a painting called “Two Players,” there’s a hint of Picasso’s neo-classical period, with a zaftig female figure in classical drapery. Her hair is pulled back in a headband, and she is seated with her back toward a male figure in more modern dress. He holds a bull’s head on his lap and his head is wrapped, a signal that he has worn or is about to wear the head. The head is reminiscent of frequent appearances in Picasso’s prints of the Minotaur, the half-man, half-bull of classical mythology. The still life looks as if it were snatched out of a Morandi painting. The scenery painted in the background suggests wall murals or some other crumbling remnant of art. But despite the fancy dress-up, the sources seem co-opted from recent modern antecedents, not directly from classicism.

Another painting, of an artist’s studio, carries hints of Giorgio de Chirico, who also liked to blend ancient and modern and sometimes throw in a bit of the absurd. It’s captivating how Ms. Ecker keeps the viewer guessing in this way, trying to figure out where she is going with each painting and drawing and what her ultimate end is in general.

In a statement, the artist, who divides her time among New York, East Hampton, and Australia, said, “Subject matters. Iconography is important to me.” It makes sense to sweat the details in this environment. They have meaning. When she is painting figures as subjects, they are approached close up and they take up a lot of real estate on the canvas. Her landscapes, on the other hand, are relatively blank and generalized. They feature striking, layered color and suggest certain features but don’t explicitly render anything in a recognizable way.

The second part of her paragraph, where she said she concentrates “on the extraction: to simplify the description, to edit out essentials,” is very relevant in this exhibition. The technique, she said, “serves the subject.”

The drawings she applies to her canvas to form outlines remain part of the painting, which gives it a tension as the work struggles to define what it is. Is it a drawing filled in with color or a painting that doesn’t mind sharing its origin story? The artist’s intent is “to intrigue over time,” and she certainly succeeds, as the works hold up to later assessment as well as in the room at the time of their viewing.

The exhibition remains on view through Sunday.

The Choral Society of the Hamptons will inaugurate its 70th anniversary season on Sunday at the Bridgehampton Presbyterian Church with performances at 3 and 5:30 p.m. Ottorino Respighi’s “Laud to the Nativity” will be the centerpiece of the program, which will also include shorter selections, among them medieval English carols, a Venetian polychoral work by Gabrieli, and Christmas music by composers including Vulpius and Praetorius.

Created between 1928 and 1930 by the Italian composer and musicologist best known for his Roman orchestral tone poems, “Laud to the Nativity” blends musical styles both antiquated and modern to render the sentiment of the Nativity story. Respighi was a scholar of Italian music from the 16th, 17th, and 18th centuries, but he reached even further into the past for this piece, which is set to a medieval Italian pastoral text from the 13th century.

Heather MacLaughlin, a conductor and musicologist, has referred to the influence of Baroque opera, madrigals, church modes, and Gregorian chant on “Laud to the Nativity.” She also noted that the participation of a small chamber ensemble gives a sense of pastoral, even archaic, simplicity to the work. The piece was scored for chorus, three soloists, and a wind sextet. Its conclusion adds the modern sounds of piano four hand, triangle, and rich vocal harmony.

The title of the Christmas program, “A Rose in Winter,” refers to a “medieval expression for the Nativity and, in modern times, an evocation of humanity’s persistent capacity for hope,” according to a Choral Society press release.

The society’s music director, Mark Mangini, will conduct the concert, which will include two soloists from previous programs, Cherry Duke, a mezzo-soprano, and Nils Neubert, a tenor, Mizuho Takeshita, a soprano, and the South Fork Chamber Ensemble.  

Mr. Mangini has been one of New York City’s most active choral conductors for over 30 years and is a founder and music director of the Greenwich Village Chamber Singers. His repertoire ranges from the pre-Bach era, with historical instruments, to commissions of contemporary work.

Ms. Duke is a frequent soloist with opera companies throughout the United States, among them the Fort Worth Opera, Opera Tampa, the Indiana Repertory Theatre, and the Los Angeles Opera.

Mr. Neubert also performs widely in the U.S. and abroad and is a sought-after interpreter of lieder and the works of Bach, Mozart, Handel, Hayden, Mendelssohn, Rossini, and Donizetti. He is also a chamber musician. 

New to the choral society is Ms. Takeshita, a versatile performer of opera and oratorio, early and contemporary music, with a repertoire including Susanna in “Le Nozze di Figaro,” Despina in “Cosi Fan Tutte,” Gilda in Rigoletto, and Tytania in “Midsummer Night’s Dream.”

Tickets to individual concerts are $30 in advance and $35 at the door, $10 and $15 for youth. Preferred seats are available for $75, and season subscriptions can be had at discounted prices.

Prior to the 3 p.m. performance, the society will hold a benefit brunch at the Bridgehampton Inn and Restaurant at 12:30. Brunch tickets, which are $225, will include preferred seating at the concert.

Looking ahead, the society will perform Fauré’s “Requiem” and Bach’s Cantata No. 4, “Christ Lay in Death’s Bonds,” on March 20 at the East Hampton Presbyterian Church. Next summer the society will present Beethoven’s Mass in C and the world premiere of a major work by Victoria Bond, based on the biblical story of Moses and commissioned by the society.

An auditioned chorus with a professional music director, soloists, orchestra, and accompanist, the Choral Society of the Hamptons has been presenting choral music on the East End since it was founded in 1946 by Charlotte Rogers Smith, a local choir director.

After opening a second location for his Southampton-based Tripoli Gallery this year in East Hampton, Tripoli Patterson might have been expected to do a larger than usual version of his annual “Thanksgiving Collective.” But few could have foreseen just how large that vision would become.

Unable to contain himself in just the two spaces, the young but veteran art dealer took over the Southampton Arts Center as well for the 11th edition. His annual amalgam of artists he has shown or wants to show has grown to fit the trebling of wall space with a number of emerging and established artists either new or known to the gallery.

Mr. Patterson took a smart approach to the more than 100 works he has included, multiple pieces by 35 artists. Rather than concentrating the work of each artist in one venue, he chose to spread them out over the three sites to make more thematic installations in each. There is no exact science here. The only constant appears to be that no one artist made it into all three venues, which was probably wise politics.

The result is a show(s) that feels like an extended conversation. Each can stand on its own but is enriched by the other. The whole is a personal version of an annual, biennial, or triennial-style show, a category also selective in nature, but more wide-ranging. In this instance, it serves as a showcase of one person’s eclectic associations with the art world as it intersects with his world.

The Southampton Arts Center, just by its sheer size, carries the most depth, breadth, and volume. Most of the largest two-dimensional and three-dimensional pieces ended up there from sheer logistics. It also boasts a number of outdoor sculptures in the garden.

It might seem facile to some, but the Bruce High Quality Foundation’s plaster busts on circular plinths are an effective takedown of the historical fetishization of classical art. That several 19th-century casts of such busts stand in the garden east of the former Parrish (and with no irony) makes the Bruce’s statues perfect foils for their staid presence. The newer casts have been coated with bright white enamel paint andembellished with primary colors and appliqués, including cigarettes, a trademark of the group’s work.

Their placement near the gallery’s windows draws an effective parallel to the statuary outside. They are unapologetically kitschy, and their mere presence calls out the unintended but literal kitschiness of the replicas. It’s a fun little conversation, not meant to be too weighty, that still has a lot to say.

The works of a number of artists not traditionally tied to the gallery are on view across the three spaces. Ross Bleckner can now be added to the roster of artists of international repute who have shown work in conjunction with the Tripoli Gallery. Mary Heilmann, Billy Sullivan, Robert Harms, Mike Kelley, Dan Colen, and Ahn Duong are some of the surprising or boldface names added to Tripoli’s usual roster. 

Yung Jake, Mr. Patterson’s brother, performed on opening night and contributed two sculptural pieces to the show. One is a Dumpster painted baby blue with decals of twisted Fiji bottles. Florescent lights placed inside give off an institutional glow, and a bit of spray paint depicts a smiley face and the word “Hi.” It is slick and rough at the same time, and kind of cute, for a Dumpster. His other piece in the show, on view in East Hampton, is more abstract and less visual. A rough piece of metal, abraded by rust pockmarks and faint lines, is enlivened by a Fiji sticker. 

From Southampton to East Hampton, there’s no discernible divide between figuration and abstraction that might have historically delineated aesthetics. Judith Hudson’s watercolors are more suggestive in Southampton than they are explicit in East Hampton. Mr. Harms’s abstract work stayed in Southampton mostly because his two paintings have a preppie palette.

New to me were Benjamin Keating and Brendan Lynch, both of whom have work that plays with the sculptural and the two-dimensional in the arts center. Mr. Keating slashes the canvas of paintings and then casts them as sculptures along with their frames. Mr. Lynch attached drawings, paintings, and found objects to a chain-link fence in a way that is vaguely familiar yet still fresh and eye-catching.

  Scott Covert has two powerful works, one canvas at the arts center and another in East Hampton. They consist primarily of tombstone rubbings that he silkscreens or paints or draws directly on canvas. In “Sports I,” at the arts center, he includes rubbings from Ty Cobb, Vince Lombardi, and a host of others in white and black mostly, but with some shots of purple and blue. Although the letters have meaning as names, he relates them visually to one another as well so that they form a full composition. 

A related work in East Hampton, “Blue Blue 2,” appears to focus on names from the blues. It is hanging near a Bruce High Quality Foundation oil on canvas painting called “Massacre of the Innocents” with a similar color scheme that also uses words as part of the composition.

Two of Mr. Colen’s untitled works using paint to look like accumulated guano are placed across the street from each other in Southampton, as are two of Matthew Clark’s surf-inspired photographs. But Mr. Bleckner’s vaguely floral paintings, Keith Sonnier’s large-format drawings, and Ms. Duong’s realistic paintings are found at the art center and in East Hampton. It’s a complicated calculus with no discernible rationale, but in the end it works well for each of the venues. The work on display goes together, and no single site seems to be the worse for it. 

So see one or see all, but it is worth checking out this year’s “Thanksgiving Collective.” It’s on view through Jan. 31.

The East Hampton Library will present “Gods and Monsters,” a 1998 film based on the last days of James Whale, the director of “Frankenstein” and “Bride of Frankenstein,” tomorrow at 4 p.m. Carter Burwell, who scored the film, will be present at the screening.

A part-time Amagansett resident, Mr. Burwell has conducted and/or scored the music for almost 100 films, among them “No Country for Old Men,” “Fargo,” “Being John Malkovich,” and “Three Kings.”  The Los Angeles Film Critics Association just gave its 2015 best score award to both “Carol” and "Anomalisa," two films for which he wrote the music.

“Gods and Monsters” stars Ian McKellen as the long-retired director and Brendan Fraser as a former Marine who piques Whale’s interest, much to the disapproval of Whale’s housekeeper.

The Parrish Art Museum in Water Mill will celebrate Thanksgiving weekend with a Hamptons Holiday Party and Market tomorrow and Saturday. The market, which will be open from 10 a.m. to 5 p.m. both days, will feature a variety of vendors, including AERIN, Calypso St. Barth, the Golden Pear Cafe, Haverhill Fine Jewelry, Kinross Cashmere, LSC Designs Fine and Estate Jewelry, Naturopathica, and Stella and Ruby. Entry to the market is free with museum admission.

The cocktail party, which will take place tomorrow from 5 to 8 p.m., will include a live jazz trio, an open bar, hors d’oeuvres, a silent auction, shopping at the market, and book signings. Participating authors are Florence Fabricant, who will sign copies of her latest, “City Harvest: 100 Recipes From Great New York Restaurants,” Fern Mallis, whose “Fashion Icons With Fern Mallis” features 19 in-depth interviews with fashion icons, and April Gornik, who will sign copies of “April Gornik: Drawings.”

Tickets start at $200, $150 for members, and can be purchased at the museum’s website.

The Hamptons International Film Festival is now accepting submissions for its 16th annual Screenwriters Lab, which will take place in East Hampton in April. The Lab develops emerging screenwriting talent by pairing established writers and creative producers with up-and-coming screenwriters, chosen by HIFF in collaboration with key industry contacts.

The early bird deadline for applications is Tuesday. Subsequent deadlines are Dec. 15, Dec. 29, and Jan. 12, with application fees, which start at $55, rising at each date. More information and an application link are available at the festival’s website.

If you are looking for some holiday cheer of the musical variety in the coming weeks, there are quite a few events to put you in the spirit of the season. Concerts and sing-alongs are planned in wineries, restaurants, churches, and theaters. From popular standards to classical, jazz to rock, and, of course, carols, something for every taste is on offer.

Right after Thanksgiving, the music begins with a lighthearted evening that benefits a good cause. “Our Fabulous Variety Show Presents: A Holiday Cabaret,” with Christmas carol parodies and skits, will feature WBAZ’s Walker Vreeland tomorrow and Danny Ximo of the Raffa Show on Saturday. Proceeds will benefit Hugs in Westhampton, a not-for-profit organization that provides drug and alcohol prevention programs and workshops for middle and high school students. Both events are at Guild Hall in East Hampton at 7:30 p.m. Tickets are $15 to $55, available at the Our Fabulous Variety Show website.

Beginning on Friday, Dec. 4, the company will present four performances of “A Spectacular Christmas Carol” with more dancing and singing. The shows are set for Friday and Saturday nights at 7:30, with matinees Saturday and Sunday at 2.

An evening of chamber music, piano, and opera will be presented on Sunday at 4 p.m. at St. Luke’s Episcopal Church’s Hoie Hall in East Hampton. Bobby Peterson, Joy Jones, and Josh Redman are the performers. A free-will offering has been suggested. 

Zum Schneider, a German restaurant in Montauk, will close its season with Adventssingen on Dec. 5 from 3 to 7 p.m. The celebration will include a community sing-along of German and American carols with Benjamin and Sylvester on the guitar and hammered dulcimer, accompanied by Mama Schneider’s stolen (cake) and weihnachtsgeback (pastries and cookies). All this for no cover charge.

With a little twist on the usual lighting of the tree, Wolffer Estate Vineyard in Sagaponack will have a lighting of the vines on Dec. 5 from 6 to 8 p.m., with holiday jazz, a wreath auction, hors d’oeuvres, wine, hard cider, and mulled wine. Proceeds will benefit Fighting Chance, a free cancer counseling center. Admission is $75, $35 for children under 6.

Handbells will ring the tunes on Dec. 6 at 4 p.m. as the Harbor Bells perform will benefit St. Andrew’s Catholic Church in Sag Harbor. A free-will offering will benefit the Sag Harbor Food Pantry.

“A Rose in Winter,” the title of the Choral Society of the Hamptons concert on Dec. 6, is also a medieval symbol for the nativity. The featured work is Respighi’s “Laud to the Nativity,” which, when composed in 1930, hearkened back to earlier styles of music, some of which will be heard in other shorter works (such as medieval English carols and a polychoral work by Gabrieli) that will fill out the program. Tickets for either the 3 p.m. or 5:30 p.m. concert at the Bridgehampton Presbyterian Church are $30, $35 at the door, or $10 and $15 for youth under 18, at 204-9402 or on the society’s website.

Those who are looking for Hanukkah cheer will find music and songs at two events on the South Fork on Dec. 6. At Temple Adas Israel in Sag Harbor, there will be a bazaar, music, latkes, and dreidel games at 3 p.m. A menorah lighting will take place in Kirk Park in Montauk with Hanukkah songs, doughnuts, and cocoa, also at 3 p.m.

For dance lovers, the season may not be complete without “The Nutcracker.” The Hampton Ballet Theatre School will give its seventh annual production of the holiday classic at Guild Hall on Dec. 11 at 7 p.m., Dec. 12 at 1 and 7, and Dec. 13 at 2. Tickets are $25, $20 for children under 12 in advance, or $30 and $25 on the day of performance, with premium or group seating available.

The Metropolitan Opera’s popular Live in HD series will present Mozart’s “The Magic Flute,” with its elements of fairy tale, comedy, and romance, on Dec. 19. Tickets for the 1 p.m. event at Guild Hall in East Hampton are $22, $20 members, $15 students.

And just in time for Christmas, Bay Street Theater will hold a holiday party and sing-along on Dec. 21 at 7 p.m. Don Duga, the creator of “Frosty the Snowman,” will introduce the program. He will discuss animation and his years as part of Rankin, Bass, the producers of several classic Christmas cartoons. Families will have the opportunity to be drawn as caricatures with Frosty. Rick Unterberg, who has been performing at the Townhouse piano bar in New York City since its founding, will lead the sing-along. Tickets are $15 for the sing-along and $30 for the caricature and sing-along together and can be purchased at the Bay Street box office or website.