Maestro Jaap van Zweden of the New York Philharmonic speaks with Paula Zahn about the deep roots of his love for music and the new season with the orchestra. Followed by a look at artist Siah Armajani’s “Bridge Over Tree,” a public art installation in Brooklyn Bridge Park.

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> COMING UP ON NYC ARTS, A CONVERSATION WITH MAESTRO SUEDEN OF THE NEW YORK PHIL HARMONIC ABOUT THE DEEP ROOTS OF HIS LOVE FOR MUSIC AND THE NEW SEASON WITH THE ORCHESTRA.

EVERYBODY ALWAYS WANTS TO KNOW WHERE IS IT COMING FROM, AND THAT'S THE MYSTERY, YOU KNOW, OF MUSIC.

I COULD NOT TELL YOU WHY I WAS JUST MESMERIZED BY THE VIOLIN CONCERTO BY BEETHOVEN.

I CAN SAY IT OPENED MY HEART.

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AND THE BRIDGE OVER TREE, A PUBLIC ART INSTALLATION IN BROOKLYN BRIDGE PARK.

WHAT CAN A BRIDGE MEAN WHEN IT IS SPLIT FROM ITS FUNCTIONAL PURPOSE AND ONE ANALOGY COULD BE DRAWN TO THE IDEA OF THE RESPECT FOR NATURE THAT THIS BRIDGE DOESN'T RUN OVER THE TREE, YOU KNOW, IT BRIDGES OVER THE TREE AND KIND OF RESPECTS IT AS A FORM.

> FUNDING FOR YNYC ARTS IS BY THE YORBA LINDA FOUNDATION, THE LEWIS SONNY TURNER FUND FOR DANCE.

JOEDY AND JOHN ARNEHOLD.

KATE W. CASSIDY FOUNDATION, ELISE JACKY AND JEFFREY BROWN, CHARLES AND VALERIE DIKER.

ELROY AND TERRY CRUMBHOLT FOUNDATION, JANE DUBINSKI APPLETON ESTATE AND ELLEN AND JAMES S. MARCUS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC ARTS' IS MADE POSSIBLE IN PART BY PUBLIC BANK.

FIRST THING'S FIRST.

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

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

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

THIS IS FIRST REPUBLIC'S MISSION FROM THE VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

♪ ♪ ♪ ♪ 'NYC ARTS.'

I'M PAULA ZAHN AT THE TISH WNETCENTER AT LINCOLN CENTER.

ONE OF THE MOST RENOWNED NEIGHBORS IS THE NEW YORK PHIL HARMONIC FOUNDED IN NEW YORK CITY IN 1842, IT IS THE OLDEST SYMPHONY ORCHESTRA IN THE UNITED STATES AND FOR OVER 175 YEARS HAS PLAYED A LEADING ROLE AROUND THE WORLD.

LAST SEASON, THE PHILHARMONIC WELCOMED JAAP VAN ZWEDEN.

HE BROUGHT AN ADVENTUROUS SPIRIT AND SOME SURPRISES AND HE HAS ENDEARED HIMSELF TO NEW YORK'S CLASSICAL MUSIC ESTABLISHMENT AS WELL AS MEETING THE EXPECTATIONS OF DEMANDING NEW YORK AUDIENCES.

VAN ZWEDEN HAS SERVED AS THE CHIEF CONDUCTOR OF THE NETHERLANDS RADIO PHILHARMONIC AND THE ROYAL FLANDERS ORCHESTRA, BUT IT WAS HIS DECADE-LONG TENURE AS THE MUSIC DIRECTOR OF THE DALLAS SYMPHONY ORCHESTRA THAT BROUGHT HIM TO THE ATTENTION OF THE AMERICAN PUBLIC.

THE NEW YORK PHILHARMONIC SEASON OPENS DRAMATICALLY THIS MONTH AND HIGHLIGHTS INCLUDE A FULLY STAGED PRODUCTION OF SHOWNBERG'S AND BARTOK'S BLUE BEARD CASTLE AS WELL AS THE WORLD PREMIERE OF THE PHILHARMONIC'S FIRST-EVER COMMISSION OF THE WORK OF PHILIP GLASS.

THE REPERTOIRE THIS SEASON WILL INCLUDE MUELLER, BEETHOVEN, AS WELL AS STEVE REICH, ROB ADAMS AND BJORK.

NEWLY COMMISSIONED WORKS BY ELLA YOUNG, REID AND TANIA LEON IS HIGHLY ANTICIPATED.

RECENTLY, I HAD A CHANCE TO SPEAK WITH THE MAESTRO ABOUT THE DEEP ROOT OF HIS LOVE FOR MUSIC AND THE NEW SEASON WITH THE NEW YORK PHILHARMONIC.

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WELCOME, JAAP.

IT IS SUCH A PLEASURE TO MEET YOU.

NICE TO MEET YOU.

WHEN YOU WERE A YOUNG CHILD AND YOU PICKED UP A VIOLIN FOR THE FIRST TIME IF YOU HAD ANY IDEA THAT THIS WAS A PASSION THAT YOU WOULD PURSUE FOR YOUR WHOLE LIFE.

FIRST YOU SAY THE PASSION AND THEN ALL OF THE THINGS AFTER THAT CAME BY NATURE.

AT THE TIME I PICKED UP THE VIOLIN IT WAS JUST FOR LAUGH, THE INSTRUMENT AND THE MUSIC.

IF YOU WOULD HAVE ASKED ME WHEN I WAS 7 YEARS OLD AND PLAYING THE VIOLIN FOR MANY HOURS THAT I WOULD END UP BEING A MUSIC DIRECTOR AND THEN THE MUSIC DIRECTOR OF THE NEW YORK F PHILHARMONIC, WAS THERE NO PLAN.

THERE WAS JUST A LIFE FOR MUSIC.

WHAT WAS YOUR MUSIC LIFE IN AMSTERDAM?

MY FATHER STILL IS A PIANIST AND HE WAS ALWAYS PLAYING WITH GYPSY VIOLINISTS, AND I WOULD BE AT HOME LISTENING TO THAT, AND I WOULD BE SO MESMERIZED BY THESE INSTRUMENTS, THE VIOLIN THAT I JUST ASKED FOR THE INSTRUMENT TO PLAY IT.

IT'S INTERESTING THAT IT SPOKE TO YOU AT SUCH AN EARLY AGE.

BEFORE YOU EVEN UNDERSTOOD THESE COMPLICATED EMOTIONS THAT WE ALL DEAL WITH.

AS YOU SEE, SOMETIMES, YOUNG CHILDREN WHEN THEY ARE REALLY ATTACHED TO MUSIC, TO CLASSICAL MUSIC OR ANY MUSIC, I WOULD SAY, FOR ME, AT LEAST, IT IS A MEMORY.

EVERYBODY ALWAYS WANTS TO KNOW WHERE IS IT COMING FROM?

THAT'S THE MYSTERY, YOU KNOW, OF MUSIC.

I COULD NOT TELL YOU WHY I WAS JUST MESMERIZED BY THE VIOLIN CONCERTO BY BEETHOVEN.

I CAN SAY IT OPENED MY HEART, BUT THAT'S ALL WE CAN SAY, AND IT DOESN'T MATTER WHAT KIND OF MUSIC IT IS.

I MEAN, IF YOU HEAR BRUNO MARS OR IF YOU HEAR LADY GAGA OR YOU HEAR A BEETHOVEN SYMPHONY.

IT DOESN'T MATTER.

IF YOU ARE TOUCHED IN YOUR HEART THAT IS WHAT IT'S ALL ABOUT.

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YOU ULTIMATELY TOOK IT VERY SERIOUSLY AND YOU ENDED UP COMING TO JUILLIARD WHEN YOU WERE JUST 16.

WAS THAT AN OVERWHELMING EXPERIENCE FOR YOU AT THAT AGE TO BE IN THIS BIG CITY.

I WON THE COMPETITION AND THAT COMPETITION MADE IT POSSIBLE THEY COULD TRAVEL AND I COULD STUDY FOR ONE SEASON AT JUILLIARD.

THE BEGINNING WAS ALSO QUITE LONG, TO BE HONEST.

IF YOU HAVE YOUR INSTRUMENT AND YOUR MUSIC, THAT IS ALREADY A LOT.

AND THEN YOU WENT HOME TO BECOME THE CONCERT MASTER AT THE AGE OF 19.

WHAT A STUNNING ACHIEVEMENT.

IT WAS VERY INTENSE AND THAT WAS A HUGE STEP.

I DID NOT KNOW WHAT TO EXPECT FROM IT BECAUSE I LEARNED THE VIOLIN CONCERTOS AND I WAS ONLY FOCUSED ON ONE INSTRUMENT AND THAT WAS THE VIOLIN AND CERTAINLY I WAS PART OF A HUGE MACHINE WHICH IS CALLED AN ORCHESTRA.

I WOULD SAY AS A HUMAN BEING I WAS NOT REALLY READY.

AS A VIOLINIST, 100%. AS A HUMAN BEING I COULD HAVE HAD SOME MORE YEARS IN THE WORLD.

AT SOME POINT YOU AND LEONARD BERNSTEIN'S PATHS CROSSED.

YES.

WHAT HAPPENED?

WELL, HE CAME TO THE ORCHESTRA AND HE WAS CONDUCTING SYMPHONY, AND SO WE WENT ON TOUR AND WE WENT TO A HALL IN BERLIN WHERE HE ASKED ME IF I COULD CONDUCT.

HAD YOU EVER CONDUCTED BEFORE?

NEVER.

WHAT WAS YOUR REACTION WHEN HE ASKED YOU TO CONDUCT?

OH, I WAS SO SCARED.

TO SAY NO TO HIM WAS DANGEROUS.

HE DIDN'T LIKE THAT.

SO I TOLD HIM, OF COURSE, I WOULD DO IT, BUT DON'T EXPECT ANYTHING FROM IT.

HE SAID NO, IT'S FINE, BUT THE HALL IS REFURBISHED AND I WANT TO HEAR HOW IT SOUNDS NOW.

I ACTUALLY CONDUCTED A LITTLE BIT.

HOW DID YOU DO?

NOT GOOD, BUT HE -- AND THAT'S WHAT HE SAID.

THAT WAS PRETTY BAD, BUT HE SAID YOU SHOULD TAKE IT SERIOUSLY BECAUSE I SAW SOMETHING THERE.

YOU COULD BE SOMEBODY WHO FEELS VERY AT HOME IN FRONT OF AN ORCHESTRA.

SO BESIDES LEONARD BERNSTEIN'S INSPIRING YOU TO BECOME A CONDUCTOR, WHAT WOULD YOU SAY WAS HIS IMPRINT ON THAT PART OF YOUR CAREER?

HE WAS SOMEBODY WHO WAS ALWAYS SEARCHING FOR FREEDOM ON STAGE, BUT HE LEARNED ME THAT FREEDOM YOU DON'T GET.

YOU EARN FREEDOM, AND HOW DO YOU EARN THAT FREEDOM?

TO BE VERY DISCIPLINED.

YOU KNOW, IN A WAY, DISCIPLINE MAKES YOU VERY FREE ON STAGE BECAUSE THEN YOU ARE NOT BOTHERED BY ANY TECHNICAL PROBLEM AND YOU CAN JUST LET THE ENERGY GO AND YOU CAN HAVE JUST THE MUSIC SPEAK FOR ITSELF.

WALK ME THROUGH SOME OF THE MUSICAL SELECTIONS YOU MADE IN THE FIRST SEASON AND THAT SOME PEOPLE AT FIRST BLUSH THINK COULD HAVE BEEN ALIENATING TO A TRADITIONAL AUDIENCE, BUT THAT WASN'T THE CASE.

THE FIRST PIECE WE DID WAS THE OPENING PIECE WHERE SHE WAS ABLE TO HAVE THE AUDIENCE BE INVOLVED WITH THE PIECE WHERE MUSICIANS WOULD BE IN THE AUDIENCE AND MEGAPHONES AND INSTRUMENTS THAT HAD NEVER BEEN USED EVER AND ALSO HAVING THE INSTRUMENTS IN THE ORCHESTRA BEING USED IN A WAY THAT THEY'VE NEVER BEEN USED, MAKING SOUNDS THAT NEVER WAS PLAYED LIKE THIS IN A CONCERT HALL.

IT WAS JUST AN AMAZING PIECE WHICH HE WROTE FOR THE OPENING OUT OF HER OWN WORLD.

YOU'VE MADE A CONCERTED EFFORT TO BRING MORE FEMALE COMPOSERS INTO THE MIX.

MANY OF THEM DESERVED FAR GREATER RECOGNITION THAN THEY'VE GOTTEN ALONG THE WAY.

I COMPLETELY AGREE WITH YOU, AND IF YOU JUST SEARCH FOR A TALENT, THEY ARE THERE.

JULIA WOLF 'FIRE IN MY MOUTH,' THE PIECE THAT SHE WROTE FOR US.

THIS WAS, THINK, A COMPOSITION OF A TRAGEDY THAT WAS IN NEW YORK, A HUGE FIRE WHERE SO MANY YOUNG LADIES LOST THEIR LIVES.

AT THAT TIME ALL OF THE YOUNG LADIES WHO WERE WORKING IN THE FACTORIES WERE IMMIGRANTS.

THE AUDIENCE REALLY FELT CONNECTED WITH THAT TRAGEDY FROM SO LONG AGO AND JULIA WOLF REALLY DID AN AMAZING JOB TO BRING ALL THESE FEELINGS INTO THE MUSIC.

IT SOUNDS LIKE AN ADDED BENEFIT TO COMMISSIONING THIS KIND OF MUSIC IS TO KEEP THE PHILHARMONIC RELEVANT AND THERE'S A LOT OF DISCUSSION ALL OVER THE WORLD TODAY HOW YOU KEEP AUDIENCES COMING TO CLASSICAL MUSIC CONCERTS.

I THINK THE MOST IMPORTANT THING IS THAT YOU BRING THEMES, AND BEHIND THESE THEMES THERE ARE STORIES.

STORIES THAT NEEDS TO BE TOLD.

THE MOMENT YOU TELL A STORY.

IF YOU TELL A TORE TO A CHILD OF 7 YEARS OLD OR TO A LADY WHO IS 70 YEARS OLD, NO DIFFERENCE.

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IT MUST BE VERY EXCITING AND ALSO TO HAVE THE OPPORTUNITY LIKE YOU HAD TO GO OUT AND NOT ONLY COMMISSION, BUT TRY TO FIND 19 OF THE BEST FEMALE COMPOSERS AND TELL ME ABOUT PROJECT 19 AND WHAT THAT IS.

IN 1920 FEMALES GOT THE RIGHT TO VOTE.

SO WE THOUGHT WHY DON'T WE INVOLVE 19 OF THE MOST INSPIRING FEMALE COMPOSERS IN THE WORLD TO WRITE A PIECE AND TO CELEBRATE THAT AND WE DID THAT OVER TWO SEASONS.

THAT'S FANTASTIC.

LATER ON IN THE SEASON YOU'LL BE EXPLORING THE MUSIC OF GUSTAV MOLER.

WE GOT THE INVITATION FROM AMSTERDAM, ACTUALLY.

EVERY 25 YEARS THEY HAVE A BIG FESTIVAL CELEBRATING MOLLOR AND FOR 100 YEARS NOW THEY INVITED THE BERLIN PHILHARMONIC AND THE VIENNA PHILHARMONIC AND THE ORCHESTRA ITSELF, THINK, AND THEY ALWAYS MADE A CELEBRATION OF ALL HIS SYMPHONIES, AND FOR THE FIRST TIME IN MAY 2020 WE ARE GOING TO AMSTERDAM, AND TO BE ALSO PART OF THAT REALLY, GREAT MEMORABLE DAY.

CONGRATULATIONS.

THAT'S GREAT.

THANK YOU.

AND NEW YORK IN THE SPRING, THOUGH, YOU'LL BE ALSO EXPLORING THE VERY INTIMATE RELATIONSHIP HE HAD WITH NEW YORK.

OH, LOOK.

HE WAS THE MUSIC DIRECTOR OF THE NEW YORK PHILHARMONIC.

I WOULD SAY ONE OF THE MOST FAMOUS ONE, OF COURSE, AND AT THE SAME TIME HE LIVED IN NEW YORK UNTIL ALMOST THE END OF HIS LIFE AND WE ARE ACTUALLY CELEBRATING HIM IN PLAYING THE FIRST AND THE SECOND SYMPHONY IN THE UPCOMING SEASON.

WHAT ARE YOU HOPING WILL BE THE MOST IMPORTANT CONTRIBUTION TO THE NEW YORK PHILHARMONIC?

AS A NEW MUSIC DIRECTOR YOU ARE STEPPING IN BIG SHOES, MUELLER, BERNSTEIN, YOU CAN NAME THEM ALL, ACTUALLY, AND IT'S A HUGE RESPONSIBILITY.

I COME ON STAGE HERE.

I REHEARSE THE PIECE, AND THEN I HEAR A TRADITION OF SEVEN, EIGHT, NINE FORMER MUSIC DIRECTORS WHO CONDUCTED THESE PIECES AND THEN WHAT IS WONDERFUL FOR ME IS I COME WITH MY OWN TRADITION AND THEY COME WITH THEIR TRADITION AND WE MEET IN THE ♪ ♪

SO TRADITION IS NOT JUST SOMETHING WHICH IS THERE AND WE SHOULD JUST OBEY TO IT.

NO, WE CAN CREATE NEW TRADITIONS AND THAT'S WHAT WE ARE DOING ALL OF THE TIME AND THAT IS WHAT IS SO FANTASTIC FOR THE ORC OF THE RA.

I THINK THAT TALENT IS STALLEN.

IT'S THE BEST ORCHESTRA IN A WORLD AND THEY DO IT IN A SPLIT SECOND SO IT'S A VERY OPEN ORCHESTRA BECAUSE AFTER 177 YEARS YOU HAVE A HUGE EGO WHICH IS VERY GOOD BECAUSE YOU ARE THE NEW YORK PHILHARMONIC AND AT THE SAME TIME YOU HAVE TO JUST OPEN YOUR DOOR EVERY DAY AND SAY, OKAY, WHAT CAN I LEARN TODAY?

THIS IS WHAT I THINK.

IF WE GET UP EVERY MORNING AND WE SAY TO OURSELVES WHAT CAN I LEARN TODAY?

THAT MAKES IT WORTH TO GO TO THE HALL AND REHEARSE.

WE SHOULD ALL BE ABLE TO DEFINE OUR LIVES ON A DAILY BASIS.

WHAT A WONDERFUL WAY TO LIVE.

LUCKY YOU.

IT SOUNDS LIKE YOU'RE HAVING A REALLY GOOD TIME.

ABSOLUTELY.

WELL, I SALUTE YOU ON SO MANY DIFFERENT FRONTS.

IT IS SUCH A DELIGHT TO MEET YOU AND CONTINUED GOOD LUCK WITH THE WONDERFUL THINGS THAT ARE AHEAD OF YOU.

THANK YOU.

THANK ♪ ♪

FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA PLEASE SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NYCARTS.ORG/E-MAIL.

TOP FIVE PICKS WILL KEEP YOU UP-TO-DATE ALL YEAR ROUND, AND BE SURE TO CONNECT WITH NYC ARTS ON FACEBOOK, INSTAGRAM AND TWITTER.

SIA ARMANJANI, BORN IN IRAN HE EMIGRATED TO THE UNITED STATES IN 1960 AND SINCE THEN HE'S BEEN BASED IN MINNEAPOLIS.

ARM ANJANI WAS THE SUBJECT OF TWO EXHIBITIONS IN NEW YORK CITY.

FOLLOW THIS LINE AT THE MET BROADWAYER FROM EARLIER THIS YEAR AND BRIDGE OVER TREE PRESENTED BY THE PUBLIC ART FUND.

FOLLOW THIS LINE, A RETROSPECTIVE OF THE ARTIST'S WORLD INCLUDED SCULPTURES, COLLAGES, DRAWINGS AND INSTALLATIONS.

IT EXPLORED HIS EXPERIENCE AS BOTH AN EXILE AND PHILOSOPHER INTERESTED IN EXAMINING THE ROLE OF ART IN AMERICAN SOCIETY.

BRIDGE OVER TREE IS A RE-CREATION OF AMAN, J ANI'S PUBLIC ART INSTALLATION OF THE SAME NAME WHICH WAS ORIGINALLY PRESENTED BY MINNEAPOLIS AND CURRENTLY ON VIEW IN BROOKLYN BRIDGE PARK.

THE TREE WAS FIRST DONE IN 1970 IN MINNEAPOLIS.

IT WAS UP VERY BRIEFLY AND HAS NEVER BEEN SEEN SINCE.

IT IS ONE OF THE MOST IMPORTANT WORKS IN THE HISTORY OF PUBLIC ART AND HARDLY NOBODY HAS SEEN IT.

I WAS HONORED THAT SIAH WOULD BE INTERESTED IN RE-CREATING ONE OF HIS EARLY WORKS.

I DID IMMEDIATELY THINK OH, THIS COULD BE A GREAT PROJECT FOR BROOKLYN BRIDGE PARK.

AS WE TALKED ABOUT IT THE IDEA OF THIS SPACE RIGHT BETWEEN THE TWO BRIDGES WAS ABSOLUTELY THRILLING TO SIAH.

IT'S A GREAT EXAMPLE OF HOW ARMAJANI THOUGHT ABOUT CREATING WORKS OF ART THAT DID NOT STAND ALONE AS A KIND OF OBJECT IN ITSELF THAT WAS TO BE ADMIRED FROM AFAR.

HE THOUGHT ABOUT THE WORK OF ART AS SOMETHING THAT COULD BE QUITE SEAMLESS AS A PART OF THE URBAN LANDSCAPE.

AND SO I THINK HE LOOKED AT OUR CITIES AND OUR ENVIRONMENT AND THOUGHT ABOUT EVERYDAY OBJECTS LIKE BRIDGES AND BUILT A SCULPTURAL LANGUAGE BASED ON THOSE THINGS THAT ARE ALREADY FAMILIAR TO US.

HE TOOK THAT FORM AND REINVENTED IT, AND OF COURSE, IN DOING SO WAS ABLE TO ARTICULATE SO MANY OF THOSHIS OWN FANATIC INTERESTS AND WHAT IT MEANS TO MAKE A CONNECTION BETWEEN TWO DIFFERENT POINTS.

WHAT IT MEANS TO EXPERIENCE A WORK OF ART AND PERHAPS IN DOING SO IN A SOCIAL SITUATION TO ENCOUNTER OTHER PEOPLE TO EXPERIENCE IT WITH SOMEONE ELSE.

THIS IS REALLY SCARY.

SO ARMAJANI IS IN HIS OWN WAY TAKING AN EXISTING FORM, REINVENTING IT AND ASKING US AS AN AUDIENCE, WHAT CAN A BRIDGE MEAN WHEN IT IS SPLIT FROM ITS FUNCTIONAL PURPOSE?

I ALWAYS BRING THAT ONE ANALOGY COULD BE DRAWN FROM THE IDEA OF RESPECT FOR NATURE THAT THIS BRIDGE DOESN'T RUN OVER THE TREE, YOU KNOW.

IT BRIDGES OVER THE TREE AND KIND OF RESPECTS IT AS -- AS A FORM.

I THINK THERE'S ALSO A WAY THAT ONE COULD READ IT IN -- IN ALMOST A BIOGRAPHICAL WAY, THINKING ABOUT THE SINGLE TREE AS A KIND OF LONE FIGURE, AN INDIVIDUAL AND WITH SIAH HIMSELF AN EXILE FROM IRAN AND COMING TO A NEW COUNTRY AND FITTING IN AND OF COURSE, NOT FITTING IN IN THE CONTEMPORARY WORLD WHERE WE ARE IN THIS MOMENT, OBSESSED WITH CREATING BORDERS.

A BRIDGE TALKS ABOUT MAKING CONNECTIONS AND THE ENERGY THAT COMES ABOUT THROUGH JOINING TOGETHER RATHER THAN DIVIDING APART.

I THINK IT'S ABOUT THAT SPACE BETWEEN THE VIEWER, THE WORK OF ART, THE EXPERIENCE AND THE BROADER, CULTURAL MEANINGS THAT EVERYTHING IN THE WORLD HAS WHETHER WOO ACKE ACKNOWLEDGE ITR NOT.

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HELLO.

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

♪ ♪ ♪

THE MET ROPP OL TAN OPERA WILL OPEN, AND THIS IS THE FIRST PRESENTATION OF THE GREAT AMERICAN OPERA AT THE MET IN ALMOST THREE DECADES, WITH MUSIC BY GEORGE GERSHWIN AND DOROTHY HAYWARD AND IRA GERSHWIN, THEY EXPLORE THE RELATIONSHIPS AMONG MEMBERS OF A CLOSE-KNIT COMMUNITY IN 1920 SOUTH CAROLINA.

THEY SING THE TITLE PROSE, AND IT FEATURES NUCOR YOG RAVI BY CAMILLE BROWN AND AN OPENING NIGHT PERFORMANCE ON SEPTEMBER 23rd WILL BE PRESENTED FREE TO THE PUBLIC IN TIMES SQUARE.

FOR COMPLETE DETAILS VISIT THE MET OPERA.ORG.

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

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THANKS FOR JOINING US THIS EVENING.

I'M PAULA ZAHN AT THE TISH WNET STUDIOS AT LINCOLN CENTER.

GOOD NIGHT.

I HOPE YOU WILL JOIN US NEXT TIME.

> NEXT WEEK ON 'NYC ARTS,' I LOOK AT THE EXTRAORDINARY EXHIBITION ART OF NATIVE AMERICA, THE CHARLES AND VALERIE DIKER COLLECTION.

NATIVE AMERICAN ART IS FOUNDATIONAL TO OUR CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL NATIVE PEOPLES ARE THE SAME, HOMOGENOUS AND THEY WERE NOT AT ANY TIME AND THEY'RE CERTAINLY NOT TODAY.

AND A VISIT TO THE STUDIO OF ARTISTS ZARYA FOREMAN WHO HAS LITERALLY GONE TO THE ENDS OF THE EARTH TO CREATE HER LARGE SCALE CHALK PASTEL DRAWINGS.

I GOT AN E-MAIL ONE DAY AND THE MOST EXCITING E-MAIL I'VE EVER RECEIVED AND IT WAS SOMEONE SAYING, HEY, WOULD YOU LIKE TO COME PLAY WITH US?

LOVE, NASA.

I'VE BEEN TRAVELING TO ICY LANDSCAPES FOR A LONG TIME NOW, AND SO I FELT LIKE I HAD A FAIRLY DEEP UNDERSTANDING JUST VISUALLY OF ICE, BUT THIS WAS A WHOLE NEW BALL GAME, AND A WHOLE NEW PERSPECTIVE.

AND THEN WE'LL MEET STILLETA, AN AWARD-WINNING A CAPELLA SEXTET WHICH IS PART OF THE MUSIC UNDER NEW YORK PROGRAM.

I WANTED THIS FIERCE, STRONG FEMININE GIRL GROUP AND THAT'S WHERE I CAME UP WITH THE IDEA FOR STILLETTAS.

TO VISIT NYC ARTS VISIT OUR WEBSITE AT NYCARTS.ORG.

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

I LOVE BEING HERE WITH YOU, TOO, PAULA.

WHERE ARE WE?

WE'RE AT A MOMENT WHERE WE TAKE NOTHING FOR GRANTED.

IT'S A PLEASURE TO BE WITH THE CURATOR FOR THIS EXHIBITION.

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

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

TEA PITCHIC YORBA LINDA FOUNDATION, THE LOUIS SONNY TURNER FUND FOR DANCE.

JODY AND JOHN ARNEHOLD.

KATE W. CASSIDY FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

EL ROADWAY AND TERRYCRUMBHOLT FOUNDATION AND THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELLEN AND JAMES S. MARCUS.

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.

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

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

IT'S STILL THE FIRST THING ON OUR MINDS.