Arts & Culture

The Washington University Symphony Orchestra and Washington University Choirs will join forces March 3 for the 2017 Chancellor’s Concert, featuring music of Franz Schubert and Giovanni Bottesini.

“Higher Ground: Honoring Washington Park Cemetery, Its People and Place” will open March 3 at the Sheldon Art Galleries. The exhibition includes works by artists Jennifer Colten, Denise Ward-Brown and Dail Chambers. All three will discuss their projects during a gallery talk April 7 and in a panel discussion at the Missouri History Museum May 24, among other events.

Todd Decker on Oscar favorite “La La Land,” and why Ryan Gosling is no Fred Astaire.

Chicago-based artists Amanda Williams and Andres L. Hernandez, winners of the PXSTL competition, will discuss the project in a public lecture March 8. The free talk will launch the Sam Fox School’s spring Public Lecture Series.

Despite controversy, film ‘advances representations of slavery,’ says scholar Sowande’ M. Mustakeem.

WashU alumni share their magical stories about working on Broadway, becoming part of a larger cultural conversation and, ultimately, making a difference.

“Macbeth” is a story of moral corruption – and a striking metaphor for the current political moment, says Henry Schvey, who will direct the Shakespeare classic Feb. 24 to March 5 in Edison Theatre.

Acclaimed pianist Jonathan Biss will launch Washington University’s new Great Artist Series with a solo recital Feb. 9 in the E. Desmond Lee Concert Hall. The program will feature late works by Frédéric Chopin, Robert Schumann, Johannes Brahms and György Kurtág.

For Parisians at the end of the 19th century, to attend the opera, the ballet or the Moulin Rouge was to see but also to be seen. This spring the Mildred Lane Kemper Art Museum at Washington University in St. Louis will present “Spectacle and Leisure in Paris: Degas to Mucha.” Featuring a broad selection of prints, posters, photographs and film, the exhibition will explore how visual artists at once documented, promoted and participated in the distinctive entertainment cultures that defined the Belle Époque.

A kiss. A punch. A body braced for impact. The paintings of Rosalyn Drexler exude uncanny stillness, anticipation and, frequently, the dread of imminent violence. This spring the Mildred Lane Kemper Art Museum at Washington University in St. Louis will present “Rosalyn Drexler: Who Does She Think She Is?,” the first full-career retrospective for the multitalented artist.