Madame de Pompadour meets the brush of Joshua Reynolds: thus, or in a similar vein, one might describe the pastel-toned cover of Megan Kahts’ “Dopo notte.” In rococo drapery, the South African mezzo is bathed in a pervasive, yet sensuous, chiaroscuro. Famously, one should not judge a book by its cover; yet here, what you see is exactly what you {…}