A preview of American Ballet Theatre’s spring season at the Metropolitan Opera House, featuring the work of choreographer Twyla Tharp. And a visit to the American Folk Art Museum to see the exhibition “Made in NYC: The Business of Folk Art.”

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COMING UP ON 'NYC ARTS,' THE PREVIEW OF AMERICAN BALLET THEATER'S SPRING SEASON AT THE METROPOLITAN OPERA HOUSE FEATURING THE WORDS OF CHOREOGRAPHER.

IN THE UPPER ROOM IS PROBABLY THE MOST DEMANDING PIECE THERE IS.

IN THE UPPER ROOM, IF YOU HAVE ANYTHING LEFT WHEN THE CURTAIN GOES DOWN YOU HAVEN'T GIVEN ENOUGH.

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AND A VISIT TO THE AMERICAN FOLK ART MUSEUM AND THE EXHIBITION MADE IN NEW YORK CITY, THE BUSINESS OF FOLK ART.

♪♪ FOLK ART WAS NOT JUST BY GRANDMA SEWING IN THE KITCHEN OR GRANDPA WHITTLING IN THE BARN.

THIS WAS MADE RIGHT HERE IN NEW YORK CITY AS WELL AS OTHER CITIES IN THE COUNTRY, BUT NEW YORK WAS THE CENTER OF IT ALL.

MANY OF THOSE WEATHER VAINS, THE CAROUSEL FIGURES THAT YOU SEE IN THE COUNTRY WERE MADE RIGHT HERE IN NEW YORK CITY.

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER, TARA PATRICK YORBA LINDA FOUNDATION.

JODY AND JOHN ARNEHOLD, KATE W.

CASSIDY FOUNDATION.

ELLEN AND JAMES S. MARCUS.

THE LEWIS SONNY TURNER FUND FOR DANCE.

ELISE JEFFREY AND JAFFE BROWN.

ESTATE OF CECILE FOX.

JANE DUBINSKY APPLETON ESTATE AND THE AVERY ARTS FOUNDATION.

CHARLES AND VALERIE DIKER AND ELLROY AND TERRY CRUMBHOLT FOUNDATION AND PUBLIC FOUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK, FIRST REFERS TO THE FIRST PRIORITY, THE PUBLIC WHO WALK THROUGH OUR DOORS AND THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST, BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUKDS OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941 LOOKING TO COMBINE KNOWLEDGE WITH ACCESS ABILITY, INFORMATION AT SWANN GALLERIES.COM.

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> GOOD EVENING, AND WELCOME TO 'NYC ARTS ''. I'M PETER DI MONTEBELLO AT LINCOLN CENTER.

SPRING HAS ARRIVED AND FLOWERS ARE BLOOMING AND ONCE AGAIN WE HAVE THE PLEASURE OF SEEING AMERICAN BALLET THEATER AT THE METROPOLITAN OPERA HOUSE.

AMONG THE HIGHLIGHTS THIS SEASON IS WORLD PREMIERE BY RATMANSKI NOW CELEBRATING HIS TENTH YEAR AS ARTIST AND RESIDENCE WITH THE COMPANY.

IN ADDITION TO PRESENTING NUMEROUS WORKS BY RATMANSKI THE EIGHT-WEEK SEASON INCLUDES KEVIN McMILLIN AS WELL AS SUCH CLASSICS AS SWAN LAKE, SLEEPING BEAUTY AND LE CREUSET.

ALSO INCLUDED ARE THE COMPANY PREMIERES ARE JANE EYRE CHOREOGRAPHED BY KATHERINE AND TWILA THORPE.

THORPE HAS BEEN CAPTIVATING AUDIENCES AS BOTH A PERFORMER AND CHOREOGRAPHER FOR OVER 50 YEARS.

SHE'S KNOWN FOR EXPANDING THE BOUNDARIES OF BALLET AND MODERN DANCE BY COMBINING DIFFERENT FORMS OF MOVEMENT SUCH AS JAZZ AND EVEN BOXING WITH MORE TRADITIONAL STYLES.

IN ADDITION, THE COMMISSION WORKS FOR MAJOR DANCE COMPANIES CONTINUE TO BE PERFORMED AROUND THE WORLD.

HOWEVER, HER CHOREOGRAPHY IS NOT JUST LIMITED TO CONCERT DANCE.

SHE HAS ALSO CREATED BROADWAY SHOWS AND HAS WORKED IF FILM AND TELEVISION.

THIS SEASON THORPE IS REPRISING A TRIO OF HER ICONIC WORKS FOR AMERICAN BALLET THEATER.

NYC ARTS JOINED HER AT ABT'S MANHATTAN STUDIOS.

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I AM ALWAYS A DANCER.

I AM STILL A DANCER.

JUST BECAUSE YOU DON'T PERFORM DOES NOT MEAN YOU'RE NOT A DANCER.

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I NEVER PLANNED TO BE A CHOREOGRAPHER.

IT WAS NOT A PART OF THE JOB PROFILE.

I WAS A DANCER, BUT WHEN I BEGAN WORKING IN THE '60s I WAS SOMEWHAT SET, SHALL WE SAY, IN MY IDEAS ABOUT THE REACH OF ART AND FOUND NOWHERE TO DANCE.

SO I BEGAN TO REALIZE THAT IF I WANTED TO DANCE I WOULD BE NEEDING TO MAKE THE DANCES.

I HAD STUDIED ACROSS THE BOARD.

I HAD STUDIED TAP DANCING.

I HAD STUDIED HULA DANCING.

I COULD DOUBLE FIRE BATON TWIRL.

I HAD POINTE CLASSES WITH SOME VERY GOOD TEACHERS.

I STUDIED TAP AND I HAD HONEY COAL.

I HAD A RANGE OF TRAINING.

ANYTHING THAT I COULDN'T DO I WENT TO LEARN HOW TO DO IT.

A COUPLE OF YEARS AGO AS I WAS FINISHING THE PLANNING FOR THIS SEASON I KNEW THAT TARGET WAS FOR US TO DO UPPER ROOM, AND WE ALSO HAVE BRAHMS'S HEIGHTENED WHICH IS A WORKSHEET SHE DID FOR US IN 2000 AND THEY ARE SUCH POLAR OPPOSITE WORKS.

ONE IS SUCH A CLASSICAL VERNACULAR, LITERALLY AND UPPER ROOM IS SUCH A GROUNDBREAKING WORK OF MINIMALIST ENDURANCE THAT UNCOMPASSES A WIDE RANGE OF VERNACULAR AND WE NEED ONE PIECE TO LINK THESE TWO TOGETHER THAT CAN CAN ACTUALLY PORTRAY THE SNAPSHOT OF HOW IMPORTANT TWILA THORPE HAS BEEN TO THIS ART FORM?

IN THE CASE OF THE COUP WHICH WAS REPRESENTED BY A MODERN, TECHNICAL KIND OF VOCABULARY AND THE CLASSICAL BALLET SORT OF MIXED IN TOGETHER, SO I INSISTED THAT A DANCER WAS A PERSON WHO DANCED.

NOT A CLASSICAL DANCER OR A MODERN DANCER.

THAT HAS COME TO PASS, BUT IT DIDN'T HAPPEN THEN.

SHE JUXTAPOSED THE CLASSICAL SYLLABUS AGAINST JUST ABOUT EVERY VERNACULAR OF PEDESTRIAN AND MODERN DANCE MOVEMENT THAT ONE CAN IMAGINE.

YOU KNOW, HERE'S THIS WOMAN IN POINTE SHOES DOING THE MOST DIFFICULT, CLASSICAL VOCABULARY SURROUNDED BY DANCERS WEARING SOCKS AND SLIDING OR TENNIS SNEAKERS TO THE BEACH BOYS' MUSIC.

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SO YOU HAVE THE FLOW OF MOVEMENT THAT COULD COME FROM PEDESTRIAN OUTSIDE WORLD AND THEN YOU HAVE THE COMMITMENT OF THE, IN THIS CASE, CLASSICAL BALLERINA, AND IT IS HER BUSINESS TO EXPEDITE THE ENTIRE VOCABULARY OF THE BALLET ALPHABETICALLY FROM A TO VOYAGE, AND THERE IS NO Z IN THE BALLET.

THERE IS A Z SO SHE DOES THAT WHILE AROUND HERE LIFE SWIRLS.

SHE SURVIVES.

LIFE DOES NOT.

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IT JUST CAPTURED A MOMENT IN TIME AND I REALIZED THIS IS MORE RELEVANT TODAY THAN IT WAS THEM PROBABLY.

SO, YOU KNOW, IT'S A NICE WAY FOR IT TO HAVE TURNED OUT AND THE DECISION LOOKED GOOD TO SAY LET'S PUT DEUCE COUPE INTO THIS PROGRAM.

SO SOMEHOW WE'RE TOUCHING THIS PROGRESSION OF AN ARTIST WHO, YOU KNOW, BROKE THE RULES, PERFECTED HOW SHE BROKE THE RULES AND THEN DEMONSTRATED THAT SHE KNEW THE CLASSICAL VOCABULARY WELL ENOUGH TO KNOW THE RULES.

THAT'S A VERY BIG STATEMENT.

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GOING INTO DEUCE COUPE I DIDN'T REALLY KNOW WHAT TO EXPECT.

THERE WERE NO VIDEOS OR FOOTAGE FOR ME TO WATCH.

ALL I KNEW WAS BEACH BOYS MUSIC AND I WAS SO EXCITED TO DANCE TO THE BEACH BOYS BECAUSE I'D NEVER DONE THAT BEFORE AND I LOVE THEIR MUSIC AND I THOUGHT THIS WAS GOING TO BE SO MUCH FUN.

LITTLE DID I KNOW THAT IT WAS GOING TO TAKE EVERY OUNCE OF MY BALLET TECHNIQUE TO PERFORM THIS ROLE WHICH I WAS JUST NOT EXPECTING.

SO THE FIRST REHEARSAL WHEN WE STARTED LANDING BALLET AND THEY WERE TEACHING IT TO US AND THEY WERE SHOWING US THE STEPS AND THE CHOREOGRAPHY, AND I JUST HAVE THIS LOOK OF JUST SHOCK ON MY FACE.

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DANCERS ARE TRADITIONALLY NON-VERBAL.

YOU READ A DANCER'S BODY AND YOU READ A DANCER'S RESPONSE.

YOU KNOW THEIR EYES AND YOU KNOW OF THEIR EYES OF THEIR GRATITUDE AND YOU KNOW IN THEIR EYES OF THEIR PAIN.

I COULDN'T BELIEVE HOW HARD IT WAS.

I COULDN'T BELIEVE HOW CHALLENGING THE BALLET TECHNIQUE WAS IN THIS BALLET AND ALL OF THE THINGS I HAD TO EXECUTE.

IT JUST SEEMED IMPOSSIBLE IN THE BEGINNING.

IT WAS EASIER TO DANCE SWAN LAKE THAN IT WAS TO DANCE DEUCE COUPE AND GOING INTO SWAN LAKE I KNEW HOW IT WAS GOING TO FEEL LIKE.

I KNEW IT WAS GOING TO BE DIFFICULT AND I KNEW WHAT WAS REQUIRED TO BECOME A SWAN.

SO I WAS MORE AT EASE WITH THAT GOING INTO SWAN LAKE THAN I DID WITH DEUCE COUPE, BUT TO TELL YOU THE TRUTH, THERE -- DEUCE COUPE FOR ME IS LIKE ALMOST A 20-MINUTE SOLO, AND IT'S REALLY HARD.

YOU'RE DOING EVERY STEP OUT OF THE CLASSICAL REPERTOIRE ON STAGE AND YOU HAVE TO EXECUTE IT LIKE YOU'RE DOING THE MOST PERFECT CLASS WITHOUT ANY FLAWS.

SO THERE REALLY IS NO ROOM FOR MISTAKE AT ALL.

I DEVELOPED THAT SCORE BY REALIZING EVEN BEFORE IT EXISTED THAT SOMETHING CALLED A JUKEBOX MUSICAL WAS A BAD IDEA.

IT DIDN'T EXIST.

SO I SAID, OKAY, WHAT ARE YOU GOING TO DO TO CREATE UNITY?

I SAID OKAY, CUDDLE UP IS A PRETTY GOOD THEME.

WE'LL TAKE THAT THEME OUT AND WE'LL BUILD FOUR LITTLE VARIATIONS AND WE'LL SPACE THEM OUT AMONGST THE SONGS SO THAT IT WILL DEVELOP THIS SO BY THE TIME WE GET TO CUDDLE UP, THERE IS A FOUNDATION AND A BASE FOR CUDDLE UP TO GROW OUT OF.

IN OTHER WORDS, THERE WILL BE A FINALE.

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IN THE OTHER ROOM IS A WORK THAT PHILIP GLASS CREATED, AND TWILA CREATED THE WORK TO IT AND WHEN SHE DID UPPER ROOM SHE DID IT ON HER OWN COMPANY AND IT TRANSFERRED TO ABT AND WE ABSORBED A FEW DANCERS FROM HER COMPANY AND THEY DID IT TOGETHER SO THAT THERE WAS A PASSAGE OF THE ORIGINAL INTENT FOR THE BALLET DANCERS AND THE MINIMALIST DRIVE OF THE SCORE PROPELS A CERTAIN ENERGY OF POWER THAT ENERGY BEGETS ENERGY.

THERE IS A POINT IN THE BALLET WHERE IT ALWAYS CROSSES MY MIND.

IT'S AMAZING THESE PEOPLE ARE STILL STANDING.

IT'S A KILLER.

IN THE UPPER ROOM THERE'S A KILLER AND THE DANCE REPERTOIRE, PROBABLY PHYSICALLY JUST FROM A STAMINA AND A MUSCULAR POWER, DRIVE IS PROBABLY THE MOST DEMANDING PIECE THERE IS.

I'M NOT SAYING THAT YOU DON'T GET TIRED DANCING IN THE PIECES AND IN THE UPPER ROOM WHEN YOU HAVE ANYTHING LEFT WHEN THE CURTAIN GOES DOWN YOU HAVEN'T GIVEN ENOUGH.

DANCE IS A LIVING MUSEUM.

ITS ARTIFACTS AND TREASURES MUST BE RE-PRESENTED TO EACH NEW GENERATION AND THAT HAS TO BE RESPECTED TO BY EVERYBODY, THAT THEY'RE DOING IT FOR A VERY GOOD REASON AND THAT THEY HAVE THE RIGHT TO DO IT IN THEIR OWN WAY.

SO WHEN I SEE SOME OF THE CASTS HERE REHEARSING, SAY, IN THE UPPER ROOM.

IN A WAY -- YOU WANT TO WEEP BECAUSE THEY WANT TO DO IT.

THEY WILL FIND A WAY TO DO IT AND YOU ARE HONORED THAT THEY CARE.

THAT IT'S IMPORTANT, AND I STAY HERE FOR PETTY PAW, BALANCING AND EVERYBODY ELSE WHO PEOPLE ARE STILL TRYING TO SERVE, AND SO IT'S ABOUT COMMUNITY, AND IT'S ABOUT COMMUNITY THAT REACHES BACK GENERATIONS, CENTURIES TO WHAT IT IS TO BE A DANCER AND YOU'RE ALL ONE FAMILY.

ALL ONE DANCER.

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NEXT, WE VISIT THE AMERICAN FOLK ART MUSEUM, OUR NEIGHBOR JUST ACROSS THE STREET IN LINCOLN SQUARE.

NOW IN ITS 30th ANNIVERSARY OF THIS LOCATION, THE MUSEUM IS CELEBRATING THE OCCASION WITH THE EXHIBITION MADE IN NEW YORK CITY.

THE BUSINESS OF FOLK ART.

ALTHOUGH FREQUENTLY ASSUMED THEY HAVE BEEN CREATED IN RURAL AREAS, MUCH OF WHAT WE CONCEIVE OF AMERICAN FOLK ART, THE FIGURE CAUGHT THE WEATHER VAINS AND THEY WERE ACTUALLY MADE IN NEW YORK CITY.

IN THE 1800s NEW YORK WAS THE LARGEST CITY IN THE COUNTRY AND BY THE END OF THE CENTURY ITS POPULATION GREW TO 1.5 MILLION RESIDENTS.

IT BROUGHT WITH IT CREATIVE SKILLS MATCHED WITH THE ENTREPRENEURIAL SPIRIT.

AS A RESULT, NEW YORK BECAME THE CREATIVE, FINANCIAL CAPITAL OF THE COUNTRY.

THEY REMIND US OF A SIMPLER TIME WHEN EVERYTHING WAS MADE BY HAND AND THE NEW YORK MINUTE WAS, WELL, JUST A MINUTE.

OUR GUIDE IS THE SHOW'S CURATOR LIZ WARREN.

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MY NAME IS LIZ WARREN.

I'M THE EXHIBITION CURATOR FOR MADE IN NEW YORK CITY, THE BUSINESS OF FOLK ART AT THE AMERICAN FOLK ART MUSZ YUM IN NEW YORK.

FOLK ART WAS NOT JUST MADE BY GRANDMA SEWING IN THE KITCHEN OR GRANDPA WHITTLING IN THE BARN.

THIS WAS MADE RIGHT HERE IN NEW YORK CITY AS WELL AS OTHER CITIES IN THE COUNTRY, BUT NEW YORK WAS THE CENTER OF IT ALL.

MANY OF THOSE WEATHER VAINS, THE CAROUSEL ANIMALS AND THE CIGAR STORE FIGURES THAT YOU SEE IN THE COUNTRY WERE MADE RIGHT HERE IN NEW YORK CITY, AND IT WAS MADE AS PART OF A BUSINESS WHICH IS HOW THE BUSINESS COMES INTO IT.

THE EXHIBITION IS DIVIDED IN TWO PARTS.

THE FIRST HALF IS THE ART OF BUSINESS WHICH IS FOLK REPRESENTATION OF BUSINESSES THAT EXISTED IN NEW YORK CITY IN THE 19th CENTURY.

SO YOU WILL HAVE A FLINT GLASS MANUFACTURING COMPANY, A STREET CAR COMPANY, MANY DIFFERENT SORTS OF TRANSPORTATION, HOSPITALITY, AND SEAFARING, SHIPBUILDING WORK BEING DONE HERE SO FOLK ARTISTS WERE PORTRAYING NEW YORK CITY AS IT WAS IN THE PAST.

THE OTHER HALF OF THE SHOW IS THE BUSINESS OF FOLK ART AND THAT SHOWS THE PRODUCTS THAT WERE MADE BY FOL BEING ARTISTS FOR SALE AND THIS WAS HOW THE PORTRAIT PAINTERS EARN THEIR LIVING AND THIS IS HOW THE POTTERS EARN THEIR LIVING AND THE CHAIR MAKERS AND EVEN THE LANDSCAPE PAINTERS WOULD FREQUENTLY PAINT SCENES AND BRING THEM BACK TO THEIR STUDIO AND THEN HAVE THEM ON HAND FOR SALE TO ANYBODY WHO WAS WALKING BY.

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FOLK ART IS GENERALLY PRODUCED FOR THE MIDDLE CLASS, THE WORKING CLASS.

IT'S THE PEOPLE WHO CAN'T AFFORD TO GO TO THE FINE ARTISTS TO HAVE THEIR PORTRAIT PAINTED, BUT THEY COULD AFFORD A FOLK ARTIST WHO WOULD ADVERTISE IT, SILHOUETTES DONE IN A FEW MINUTES' TIME FOR A DOLLAR OR MINIATURES DONE QUICKLY.

THE EARLIEST PORTRAIT WE HAVE IN THE EXHIBITION IS JAMES BEEKMAN JR. SHOWN IN A POSE WITH HIS PET SQUIRRELS, DUR AND CAME FROM SOMEWHERE IN EUROPE.

WE'RE NOT SURE WHERE.

HE ARRIVED IN NEW YORK AROUND 1760.

SO HE GOT THE COMMISSION TO PAINT MR. BEEKMAN'S FAMILY, ALL SIX CHILDREN, THE PAINTING STILL EXISTS AND IT'S NEW YORK'S HISTORICAL SOCIETY.

CONEY ISLAND WAS THE CENTER OF CAROUSEL MANUFACTURING IN THE COUNTRY, AND THERE WAS A STYLE THAT WAS KNOWN AS THE CONEY ISLAND STYLE.

THIS WAS A GREAT EXAMPLE OF IT, GOLDSTEIN WAS THE COMPANY THAT MADE THIS HORSE, BUT MANY OF THE OTHER CAROUSELS AND MANUFACTURERS IN CONEY ISLAND WERE ALSO JEWISH IMMIGRANTS WHO CAME HERE TO NEW YORK AND PUT THEIR SKILLS TO WORK.

♪♪ I HAVE MANY FAVORITE PIECES IN THE EXHIBITION, BUT I THINK THE PIECE THAT STARTED ME ON THIS JOURNEY MANY YEARS AGO IS THE SMALL WATER COLOR IN THE BEGINNING OF THE SHOW OF HERMAN WEIGHING GOLD MANHATTAN BANK OF NEW YORK AND I STARTED RESEARCHING THAT I DISCOVERED HE WAS WHAT'S KNOWN AS A COUNTER AT THE MANHATTAN BANK OF NEW YORK WHICH WAS THE FORERUNNER OF WHAT IS TODAY J.P. MORGAN CHASE.

TO ME, WHAT IS REALLY POIGNANT AND REALLY SHOWED THE COMPLICATED ECONOMIC, SOCIAL HISTORY OF NEW YORK CITY IS THAT HERMAN WRITES A POEM AND PUTS IT ON HIS PORTRAIT AND SAYS THAT AT HIS BANK, MASTER, CHILD OR SLAVE IS EQUAL HERE, BUT THEN WE FIND OUT THAT WHEN HE HAS THIS BIG HOUSE UPTOWN IN THE CENSUS RECORDS HE'S SHOWN AS HAVING ONE MALE SLAVE.

IT'S NOT UNTIL 1827 THERE'S FULL EMANCIPATION IN NEW YORK STATE.

THE AMERICAN FOLK ART MUSEUM IS ONE OF THOSE RARE PLACES IN NEW YORK CITY THAT'S FREE.

I INVITE YOU TO COME AND SEE THE ALMOST 100 OBJECTS OF HISTORICAL AMERICAN FOLK ART THAT WE HAVE ON VIEW RIGHT HERE ON COLUMBUS AVENUE.

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HELLO.

I'M RAFAEL PI ROMAN AND WELCOME TO LINCOLN CENTER.

AMERICAN BALLET THEATER'S 2019 SPRING SEASON AT THE METROPOLITAN OPERA HOUSE RUNS THROUGH JULY 6th.

THE LINEUP INCLUDES PROGRAMS DEDICATED TO THE WORKS OF ABT ARTIST AND RESIDENT ALEXEI RATMANSKI IN CELEBRATION OF THE CHOREOGRAPHER'S TENTH YEAR OF THE COMPANY.

ONE OF THE PROGRAM'S HIGHLIGHTS IS THE FANTASTICAL WHIPPED CREAM WITH SETS AND COSTUMES BY ARTIST MIKE WARDEN.

THIS PRODUCTION RUNS FROM MAY 24th TO MAY 29th.

FOR COMPLETE DETAILS PLEASE VISIT ABT.ORG.

AND FOR EVEN MORE INFORMATION ABOUT MUSIC, DANCE, THEATER, OPERA AND FILM HERE AT LINCOLN CENTER, YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

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I HOPE YOU'VE ENJOYED OUR PROGRAM.

I'M PETER DI MONTEBELLO AT THE TISH WNET STUDIOS AT LINCOLN CENTER.

GOOD NIGHT AND SEE YOU NEXT TIME.

NEXT WEEK ON 'NYC ARTS,' A PROFILE OF JACK QUARTET, A WINNER OF THE 2019 AVERY FISHER CAREER GRANT AWARD.

WE'RE REALLY INTERESTED IN NEW STYLES OF RHYTHM AND NEW HARMONIES.

NEW AESTHETIC MODES THAT ARE UNFAMILIAR AND KIND OF UNTESTED SOMETIMES.

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AND A VISIT TO NEW YORK'S HISTORICAL SOCIETY FOR A LOOK AT THE EXHIBITION HUDSON RISING WHICH EXPLORES 200 YEARS OF ECOLOGICAL CHANGE AND ENVIRONMENTAL ACTIVISM ALONG THE MOST INTERESTING RIVER IN AMERICA.

IT'S GREAT ADIRONDACK PHOTOGRAPHER STODDARD CAPTURED BOTH THE BEAUTY OF THE ADIRONDACKS, BUT ALSO HE CAPTURED WHAT THE LUMBERMEN WERE DOING AS THEY CHOPPED DOWN THE ADIRONDACK FOREST AND THEN HE TURNED THESE PHOTOGRAPHS INTO A 200-SLIDE SHOW THAT HE COULD TAKE AROUND THE STATE AND USE IT TO ADVOCATE FOR THE PRESERVATION OF THE ADIRONDACKS.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC ARTS VISIT OUR WEBSITE AT NYC-ARTS.ORG.

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LEONARD, WHAT A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING WITH YOU, TOO, PAULA.

WHERE ARE WE?

WE TAKE NOTHING FOR GRANTED.

IT'S A PLEASURE TO BE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT, AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

WHEN I LISTEN TO THE LYRICS, I SUDDENLY THOUGHT THAT'S WHAT I WANT TO DO WITH MY LIFE?

MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

MY PRIMARY WAY OF PLAYING THE PIANO IS BY IMPROVISING.

YOU ARE IN SOME RESPECTS, ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID HOW WOULD YOU LIKE TO PLAY BILLIE HOLIDAY?

I THINK ONE OF THE ESSENTIAL THINGS THAT WE LEARN SIDE THAT MATTISSE USED PENS TO DO HIS WORK.

YOU THINK OH, MY GOSH, THIS COULD BE NOW.

THE CARDBOARD GUITAR IS THE VERY FIRST OF THAT MOMENT OF REALIZATION.

SUDDENLY YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE, GREAT, YOU ♪♪ ♪♪ ♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER.

TARA PATRICK YORBA LINDA FOUNDATIONDATION.

JODY AND JOHN ARNEHOLD.

KATE W. CASSIDY FOUNDATION.

ELLEN AND JAMES S. MARCUS.

THE LEWIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

GENE DUBINSKY APPLETON ESTATE AND THE SALLY AND AVERY ARTS FOUNDATION.

CHARLES AND VALERIE DIKER AND ELROY AND TERRY CRUMBHOLT FOUNDATION.

THIS IS SUPPORTED BY PUBLIC FUNDS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, THE BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY AT LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER OR LOOKING TO SELL, INFORMATION AT