It won’t appear in full-performance until the Tobin Center opens in 2014, but The Opera San Antonio will preview its world class talent in a gala performance that promises to be dazzling. Soprano Patricia Racette, a regular performer at the San Francisco and Metropolitan Operas, and Texas-based tenor Jay Hunter Morris headline with the San Antonio Symphony. Pieces to be performed span opera repertoire from Handel to today, with works by American composer Leonard Bernstein and TOSA artistic director Tobias Picker, and classics by Verdi, Puccini, and Wagner. A rendition of Jerome Kern’s “Ol’ Man River,” by renowned bass-baritone Eric Owens, gives the lineup a populist twist. Also included are Dolora Zajick, Daniela Mack, Alek Schrader, Lucas Meachem, and Lisette Oropesa.

Lewis Smith’s “Cardinal Vista” employs limestone dust, clays from different Texas locales, colored powders, and acids to recreate events seen in nature. At the reception: an art talk at 7pm and music by DJ JJ.

At the ripe old age of 10, Chloe Chaidez formed Wild Youth, a band that covered songs by Sigur Rós and David Bowie. Now 18, Chaidez fronts Kitten, a Los Angeles-based five-piece inspired by the synth-driven sounds of the Eurythmics and the Pet Shop Boys. With only the EPs Sunday School (2010) and Cut it Out (2012) to their credit, Kitten have played SXSW, toured with Paramore, opened for No Doubt, and garnered praise from Carson Daly and Teen Vogue. Daughter of Mike Chaidez (former drummer for the punk band Thee Undertakers), Chloe grew up listening to Siouxsie and the Banshees and has cited the late Ian Curtis as a stylistic influence. These dark spirits mesh with others in Kitten’s tracks, which fall somewhere between the ’80s-inspired electronica of Class Actress and the dark drama of Bat for Lashes.

The local chapter of RAW Natural Born Artists showcases visual art by Christina Barboza, daphid art, Mzroyalec, Larry Castilleja, Prerna Suyal, James Seufert, Justin, Mind Potency, Violet Serpentine, Dani Cruz, Jordan Nerison, Rock SALT, Shellee Laurent, Megan Solis, and Jacinda Jackson; photography by John.John, Taj Marie, Gregory Stack, Collette Orquiz, B. Alvidrez, Katie Red, Vispanius, Sherrie Scherer, PaperMoon, Don Walthrop, and Roland; fashion design by NDG Sci-Fest (pictured); film by Jack Webb; performing art by Mary Annette and Aliska Wolfbane; makeup artistry by Beautiful Creatures, Dominique, and Lisa Boston; and live music by Christina Murphy, Nevermind, and The Black Market Club. Joshua Cabaza emcees the show set to beats by DJ Cogswell. Cocktail attire requested.

Foreign film buffs might know Chile’s Sebastián Silva from his Sundance Film Festival hits The Maid (which took home two World Cinema Jury Prizes in 2009) and this year’s Crystal Fairy (starring indie fave Michael Cera opposite Gaby Hoffmann). True fans, however, will tell you to start at the beginning. Released in 2007, Silva’s Life Kills Me deftly combines the ironic melancholia of The Smiths, the dark comedy of Harold and Maude, and a bizarre film within a film into a morbid sleeper suggesting death might be smarter to embrace than to fear. Shot almost entirely in black and white, the openly gay director, screenwriter, painter, and musician’s cinematic debut screens at SAMA in conjunction with Global Lens 2013, a touring series launched by the Global Film Initiative in 2003.  

Regarded as one of the architects of contemporary R&B, 10-time Grammy winner Kenny “Babyface” Edmonds brings heartfelt and impeccable music for grown folks to the Lila Cockrell stage on Friday. After writing and producing hits for Bobby Brown in the late ’80s, Edmonds joined former bandmate Antonio “L.A.” Reid to create LaFace Records, propelling acts like TLC, Toni Braxton, and Usher into the public consciousness. By the end of the ’90s the young producer was responsible for 42 No. 1 R&B hits and 51 Top 10 Pop hits. A gifted performer in his own right, fans can expect plenty of material from his 11 solo albums, including classics like “Whip Appeal” and “For the Cool in You,” which recall an era of R&B when records didn’t necessarily require 16 bars to make it on the radio.