A profile of ballet coach Irina Kolpakova: mentor, friend and confidante to many of the outstanding dancers of American Ballet Theatre. And a look at two works by Augustus Saint-Gaudens, one of America’s finest sculptors: “Victory,” depicted as a guiding force leading the Civil War hero William Tecumseh Sherman, and a portrait of Abraham Lincoln, informed by Lincoln’s speeches and writings.

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> COMING UP ON NYC ARTS, A PROFILE OF IRINA, A BELOVED COACH OF AMERICAN DANCERS AT THE BALLET THEATER.

A BALLET MASTER IS IN CHARGE OF A CERTAIN PORTION OF THE REPERTOIRE WE DO.

IRINA, IN PARTICULAR, HER QUALITIES AS A COACH ARE WITHIN THAT PRIMARILY TAKES THE MATERIAL THAT YOU PRESENT HER AND TRIES TO PUT IT THROUGH A LENS FOR THE DANCER TO SEE MORE CLEARLY AND UNDERSTAND WHAT IT IS THEY'RE ACTUALLY DOING.

AND A VISIT TO THE METROPOLITAN MUSEUM OF ART.

I'M HERE TO TALK ABOUT AUGUSTA SAINT GARDENS, WHO IS THE GREATEST AMERICAN SCULPTER OF THE LATE 19th CENTURY.

WE'RE VERY FORTUNATE TO BE ABLE TO PRESENT HIS WORK IN SUCH A COMPREHENSIVE WAY.

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

WALTER.

THEA PETSCHEK IERVOLINA FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

EL ROY AND TERRY KRUMHOLZ FOUNDATION.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND JAMES S. MARCUS.

THIS PROGRAM IS FUNDED IN PARTS BY THE CITY COUNCIL.

ADDITIONAL FURNISHEDING PROVIDED BY MEMBERS OF 13.

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

> FIRST THINGS 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.

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 SWAN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR OR LOOKING TO SELL, INFORMATION AT SWANGALLERIES.COM.

♪♪

> GOOD EVENING AND WELCOME TO NQC ARTS.

NOW ON VIEW IS THE EXHIBITION THE LAST NIGHT, THE ART ARMOR AND AMBITION OF MAXIMILLIAN THE FIRST.

ARMOR PLAYED IN THE LIFE AND VERY GRAND AM BIGS OF HOLY ROMAN EMPEROR MAXIMILLIAN THE FIRST.

A WALK-THROUGH THE GALLERIES REVEALS HOW HE USED ARMOR DURING THE DAWN OF THE RENAISSANCE.

THE MOST COMPREHENSIVE EXHIBITION IN DECADES.

IT BRINGS TOGETHER MORE THAN 180 OBJECTS.

THESE HAVE BEEN SELECTED FROM 30 PUBLIC AND PRIVATE COLLECTIONS IN EUROPE, THE MIDDLE EAST AND THE UNITED STATES.

THE ARM IR'S ON VIEW ARE QUITE SUMPTUOUS.

AND HIGHLIGHT THE EUROPEAN ARMORS OF HIS AGE.

A SELF-PROMOTER OF THE HIGHEST ORDER, A RUTHLESS LEADER AND POLITICAL MASTERMIND, HE USED ART AND ARMOR TO FORTHA HEROIC IMAGE AND ETERNAL LEGACY.

THE LAST NIGHT, THE ART ARMOR IS ON VIEW THROUGH JANUARY 5th.

ALSO ON DISPLAY, SCIENCE AND SPLENDOR BY MONARCHS.

A NUMBER OF THESE WORKS HAVE NEVER BEEN DISPLAYED IN THE UNITED STATES BEFORE.

FROM THE MID 1500th THROUGH THE MID 1700s, NEARLY EVERY ROYAL FAMILY IN EUROPE ASSEMBLED VAST EXQUISITE AND ENTERTAINING OPTIONS.

THEY CONVEYED STATUS AND POWER.

THE SELECTION ON VIEW FEATURES 170 OBJECTS.

INCLUDING CLOCKS, FURNITURE, SCIENTIFIC INSTRUMENTS, JEWELRY AND MORE.

THESE ARE DRAWN FROM THE MET'S OWN COLLECTIONS AS WELL AS FROM OVER 50 LENDERS.

THE EXHIBITION IS ON VIEW THROUGH MARCH 1, 2020.

CURRENTLY ON VIEW IS ANOTHER IMPORTANT EXHIBITION TITLED TREASURE.

A MID EVIL JEWISH LEGACY.

IT POINTS TO BOTH LEGACY AND LOSS.

UNDERSCORING THE PROMINENCE OF PERILS FACED BY THE JEWISH MINORITY COMMUNITY IN THE TUMULTUOUS 14th CENTURY.

FOR MORE THAN 500 YEARS UNTIL IT WAS DISCOVERED IN 1863, A SMALL CATCH OF JEWELRY AND COINS LAID HIDDEN IN THE WALLS OF A HOUSE.

THE OBJECTS BELONGED TO A SINGLE FAMILY FROM THE CITY'S ONCE THRIVING JEWISH COMMUNITY.

AMONG THE HIGHLIGHTS OF WHAT IS KNOWN AS THE TREASURE, NOW IN THE COLLECTION IN PARIS, ARE PRECIOUS RINGS, JEWELLED BROOCHES AND A SINGLE KEY.

A POIGNANT TRIBUTE TO HIS ROLE IN ART AND SOCIETY IN MEDIEVAL EUROPE.

THE MEDIEVAL JEWISH LEGACY IS ON VIEW THROUGH JANUARY 12th.

ON OUR PROGRAM TONIGHT, WE'LL GO BEHIND THE SCENES WITH AMERICAN BALLET THEATER.

PERFORMING BOTH TREASURED CLASSICS AND NEW REPOIRTORY.

THE COMPANY FEATURES A STELLAR CAST OF DANCERS.

THEY ALL SHARE THE INVALUABLE GUIDANCE OF THEIR COACH.

DURING HER TIME AT THE BALLET, SHE WAS LEGENDARY.

HAVING DANCED WITH RUDOLPH AND MIKAIL BARISHNIKOV AND DANCED WELL INTO HER 50s.

WHEN THE SOVIET UNION COLLAPSED, BARISHNIKOV INVITED HER TO TEACH HERE.

SHE CAN GUIDE THEM TOWARD INHABITING THE EMOTION OF LIFE.

PART MENTOR, CONFIDANT AND TRUSTED FRIEND.

A COACH CAN SUPPORT DANCERS TO BE THE VERY BEST THEY CAN BE.

2, 3, 4, 5, 6, 7, 8.

IRINA'S OFFICIAL TITLE IS BALLET MISTRESS.

A BALLET MISTRESS OR BALLET MASTER IS BASICALLY IN CHARGE OF A CERTAIN PORTION OF THE REPERTOIRE WE DO.

HER QUALITIES AS A COACH ARE ONE THAT PRIMARILY TAKES THE MATERIAL THAT YOU PRESENT HER AND TRIES TO PUT IT THROUGH A LENS FOR THE DANCER TO SEE MORE CLEARLY AND UNDERSTAND WHAT IT IS THEY'RE ACTUALLY DOING.

AND IN THAT PROCESS SOMEHOW, IT IS BEING A SUPPORT SYSTEM FOR AN ARTIST, BUT AT THE SAME TIME SHE TRIES TO TEACH THEM HISTORY LESSONS.

FIVE YEARS I STARTED IN OUR CONSERVATORY.

IT WAS A HIGH LEVEL OF CONCENTRATION.

I THINK IT'S BEST SCHOOL IN THE WORLD.

IF YOU TALK OF A PERFORMING ART, THEY'RE ATTACHED TO COUNTRIES.

IF YOU SAY THEATER, YOU THINK BRITISH, IF YOU SAY OPERA, YOU THINK ITALIAN.

BALLET, YOU THINK RUSSIAN.

BALLET IS THE NATIONAL SPORT.

AND IRINA IS THIS WONDERFUL INDIVIDUAL WITH AN INCREDIBLE KNOWLEDGE OF VAGANA OF TRAINING.

IT WAS LIKE REALLY GOOD DANCER AT THAT TIME.

SHE WAS SMART.

JOURNALISTS, ALL THIS I WRITE ABOUT HERE.

CAREEN KNOW MOVEMENT.

YOU USE ALL PART OF YOUR BODY.

AND AIM STEP.

NOT ONLY LEG.

NOT ONLY EYES.

NOT ONLY ALL TOGETHER.

ALL TOGETHER EVEN START FROM THE FINGERS, FINGERS ARE NOT SUPPOSED TO BE VERY STRONG.

THEY'RE SUPPOSED TO BE ABSOLUTE AND YOU USE ALL YOUR BODY.

♪♪

IRINA HAS SOMETHING SPECIAL WHERE I THINK SOMETHING THAT MADE HER AN INCREDIBLE DANCER WAS THE WAY SHE USED HER UPPER BODY AND ARMS.

NOT EVERY DANCER CAN EXPLAIN HOW TO DO IT, AND SHE HAS THAT GIFT.

YOU HAVE ONE COACH FOR ALL THE ROLES.

AND WHO KNOWS YOU IN AND OUT.

SHE KNOWS YOU VERY WELL, SHE APPLIES THIS SPECIAL ATTENTION TO ALL THE DANCERS SHE REHEARSES WITH.

SHE REHEARSES WITH ME ON THE MORE CLASSICAL REPERTOIRE.

SHE'S ONE OF THE PEOPLE WHOSE OPINION I TRUST THE MOST IN THE WORLD.

WHEN ONE IS A COACH OF THIS LONGSTANDING CALIBER, SHE'S TAKING DANCERS THROUGH THEIR CAREERS, SO INDEED IT DOES BECOME A FORM OF A LIFE COACH.

BECAUSE IF SOMEONE ISSEN SADDING IN FRONT OF YOU AND ISN'T REALLY UP TO PAR THAT DAY.

EVERYBODY HAS A BAD DAY.

IF IT'S THE THIRD DAY IN A ROW, HAVE YOU TO GO, OKAY, WHAT'S GOING ON.

FRIEND AND -- YOU NEED TO TAKE OUT OF THAT FEELING.

HELP.

IT'S HARD -- IT'S HARD WORK.

SHE UNDERSTANDS WHAT IT IS TO BE A WOMAN AND A BALLERINA, AND TO NOT BE AT YOUR BEST EVERY DAY.

SO ON THOSE DAYS WHERE YOU'RE JUST BEATING YOURSELF UP, AND I'VE CRIED WITH IRINA MANY TIMES.

SHE REMINDS YOU THAT THIS IS GOING TO BE OVER SOON.

THIS CAREER DOESN'T LAST LONG, AND ENJOY EVERY SECOND OF IT.

YOU'RE GOING TO GO ON AND BE A MOTHER AND HAVE BABIES.

SHE REMINDS YOU OF THE HUMANITY OF WHAT WE DO.

WE WILL NEVER PERFECT WHAT WE'RE STRIVING FOR EVERY DAY IN CLASS.

THE POINT OF IT IS TO CONTINUE TO STRIVE BETTER.

WHETHER IT'S THE TEACHER, THE BALLET MISTRESS.

IS THERE TO WATCH TO SEE IF THERE'S SOMETHING THAT MAYBE YOU'RE DOING THAT WILL CAUSE AN INJURY.

IF THERE'S SOMETHING YOU'RE DOING THAT THEY CAN HELP MAKE EASIER OR MAKE WORK BETTER.

IT SOUNDS NEGATIVE THAN IT IS.

ALL DANCERS FEEL THAT THEY'RE NOT GOOD ENOUGH, THE GOOD DANCERS AT LEAST DO, IN MY OPINION, BECAUSE IF YOU'RE HUMBLE IT PUSHES YOU FORWARD.

AND YOU AUTOMATICALLY LOOK FOR THINGS WHICH ARE WRONG AND WHICH COULD BE BETTER.

WE AS DANCERS ARE OUR OWN PRODUCTS.

YOU HAVE TO GET BETTER.

IF NOT A TECHNICAL WAY, HAVE YOU TO DO IT IN AN ARTISTIC WAY.

I THINK THAT FEMALE DANCERS DO GET EVEN MORE OUT OF IT THAN I DO.

AND I'M A LITTLE SET.

I WISH I WOULD HAVE SOMEBODY LIKE THAT WHO REALLY DANCE THE ROLES I DANCE.

THERE ARE NO NOTES.

THAT'S WHAT BALLET IS.

UNLESS THERE'S A FILM OF IT, EVEN WITH A FILM, YOU'RE GETTING SOMEONE'S INTERPRETATION OF THOSE STEPS.

AND THAT'S THE QUIRKY THING ABOUT BALLET AND BEING A GOOD COACH.

YOU HAVE TO ALLOW PEOPLE NOT TO DO IT LIKE YOU DID IT.

BUT TO FIND THE TRUTH IN IT FOR THEMSELVES SO THEY CAN GIVE THEIR INDIVIDUAL INTERPRETATION.

AND THAT'S WHY PEOPLE LIKE IRINA ARE SO INVALUABLE.

THEY HAVE INCREDIBLE RESPECT AND LOVE OF THE MATERIAL.

AND SHE'S ABLE TO KEEP TRACK OF AN AMAZING AMOUNT OF VERSIONS OF THE SAME BALLET.

WHAT YOU WANT TO DO AS A COACH FOR THEM THEM IS TO TEACH THEM WHAT THEY KNOW AS BEST THEY CAN KNOW IT, TO THE DEGREE WHERE THEY COULD SIT IN THE FRONT OF THE ROOM AND COACH SOMEONE ELSE.

THAT'S THE OBJECTIVE, YOU'RE GOING TO CARRY THIS ON.

I WAS DOING SWAN LAKE.

AND WE WERE IN THE STUDIO, IT WAS MY LAST REHEARSAL BEFORE MY SHOW.

AND I WAS JUST STANDING THERE WATCHING HER SHOW ME WHAT IT IS I SHOULD BE DOING, AND LISTENING TO HER SPEAKING.

AND I JUST STARTED CRYING MY EYES OUT.

AND THEN SOME OTHER DANCERS WALKED IN AND THEY'RE LIKE, OH, GOSH.

IT'S THE DAY OF HER SHOW.

SHE'S HAVING A MELTDOWN.

I'M NOT CRYING BECAUSE I'M NERVOUS OR DON'T FEEL READY.

I'M SO GRATEFUL TO HAVE YOU IN MY LIFE.

THIS GENERATION OF YOUTH SHOULD UNDERSTAND, JUST RESPECTING OUR ELDERS AND SO MUCH THAT WE CAN GAIN FROM THEM AND THEIR EXPERIENCES, IT WAS JUST LIKE THIS MOMENT THAT I WAS LIKE, I WANT TO HOLD ON TO YOU, AND TO EVERY WORD YOU SAY.

AND I LOVE HER, AND SHE'S GIVEN ME SO MUCH.

IT'S LOVE.

SHE SO LOVES HER DANCERS AND COACHES.

AND LOVES THE ART FORM, AND THE ROLES SHE'S WORKING WITH THEM ON.

AND LOVES THE KNOWLEDGE THAT SHE GOT FROM PEOPLE SHE LOVED.

THAT IT'S INFECTIOUS.

♪♪

> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, SIGN UP FOR OUR FREE WEEKLY EMAIL AT NYC -- ARTS.ORG SLASH EMAIL.

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.

> I'M CLAIRE TOLLS, CURATOR IN THE AMERICAN WING AT THE METROPOLITAN MUSEUM OF ART.

AND WE'RE STANDING IN THE NEW AMERICAN WING GALLERIES.

26 NEW SPACES DEVOTED TO ART FROM THE 18th CENTURY THROUGH THE EARLY 19th CENTURY.

I'M HERE TODAY TO TALK ABOUT AUGUSTA SAINT GAUDINS WHO IS ARGUABLY THE GREATEST AMERICAN SCULPTOR OF THE LATE 19th CENTURY.

THE METROPOLITAN HAS 50 WORKS, WE'RE FORTUNATE TO BE ABLE TO PRESENT HIS WORK IN A COMPREHENSIVE WAY FROM EARLY CAMEO PORTRAITS TO LOW RELIEF PORTRAITS OF HIS FRIENDS AND FELLOW ARTISTS TO MODELS FOR AND REDUCTIONS AFTER HIS GREAT CIVIL WAR MONUMENTS.

HE CAME HERE AS AN INFANT AND WAS RAISED ON THE LOWER EAST SIDE.

HE BEGAN WORKING AS AN APPRENTICE FOR A CAMEO CUTTER.

THAT FUELED HIS INTEREST IN BECOMING A SCULPTOR.

IN 1867 HE WENT ABROAD TO PARIS TO STUDY, AND TRAINED AT THE BOSAR, WHICH WAS REALLY THE FOREMOST TRAINING GROUND FOR STUDENTS ACROSS THE WORLD AT THAT TIME.

HE ALSO STUDIED IN ROME, CAME BACK TO NEW YORK AND ESTABLISHED A CAREER AS A SCULPTOR OF GREAT CIVIL WAR MONUMENTS.

SOME OF THE BEST KNOWN WORKS IN NEW YORK ARE THE FARRAGUT MONUMENT IN MADISON SQUARE PARK AND THE GREAT EQUESTRIAN STATUE OF GENERAL SHERMAN IN A SPACE CALLED GRAND ARMY PLAZA.

AFTER SHERMAN DIED, ST.

GAUDINS RECEIVED A SCHOLARSHIP TO CREATE AN AIL GORICAL FIGURE INTO A REALISTIC PORTRAIT OF THE PERSON WHO WAS BEING COMMEMORATED.

WHILE GENERAL SHERMAN IS MARCHING ALONG ON HORSEBACK, THE WINGED FIGURE OF VICTORY IS LEADING HIM ON.

SHE HOLDS A PALM FRONT IN HER HAND WHICH IS THE SYMBOL OF VICTORY.

AND SHE IS REALLY QUITE AMERICAN IN A SENSE.

ST. GAUDINS WORKED WITH SEVERAL DIFFERENT MODELS TO CREATE THIS SCULPTURE, GENERALLY, THIS WAS A PROCESS THAT WAS KIND OF AN AMALGAMATION OF POSES.

MOST INTERESTING IS THE FACT THAT ONE OF THE MODELS WAS A WOMAN NAMED HEADY ANDERSON A WOMAN FROM SOUTH CAROLINA AND ST. GAUDINS WORKED WITH HER FREQUENTLY AND SAID SHE HAD A FIGURE LIKE A GODDESS.

IN THE CASE OF THE VICTORY, HE ARRANGED DRAPERIES ON FOUR DIFFERENT MODELS AND IT TOOK HIM SOMETHING LIKE TWO WEEKS TO GET THE LOOK HE WAS AFTER, AND WHEN HE FINISHED THE FIGURE, HE WROTE HOORAY, IT'S THE GREATEST VICTORY ANYONE EVER MADE.

HERE I AM IN FRONT OF ONE OF OUR MOST RECENT SCULPTURE ACQUISITIONS.

ST. GAUDINS STANDING LINCOLN.

THIS IS AN EXCITING PIECE FOR OUR COLLECTION, BECAUSE DESPITE THE COMPREHENSIVENESS OF THE COLLECTION, WE HAD NO SCULPTURES REPRESENTING THIS GREAT COMMISSION THAT HE DID FOR THE CITY OF CHICAGO.

ST. GAUDINS WAS COMMISSIONED TO COMPLETE A PORTRAIT OF ABRAHAM LINCOLN IN 1853 AND UNVEILED IN LINCOLN PARK IN 1887.

FOR THE PORTRAIT OF LINCOLN, HE RELIED ON A NUMBER OF DIFFERENT SOURCES.

BUT VERY INTERESTINGLY HE HAD FIRSTHAND EXPERIENCE WITH LINCOLN, BECAUSE HE GREW UP IN NEW YORK CITY.

AND SAW LINCOLN WHEN HE CAME TO NEW YORK IN 1861 ON HIS WAY TO WASHINGTON TO ASSUME THE PRESIDENCY.

LATER ST. GAUDINS WAS ONE OF THOUSANDS OF PEOPLE WHO WENT THROUGH A LINE AT CITY HALL TO SEE THE SLAIN PRESIDENT LYING IN STATE IN APRIL OF 1865.

SO HE SAID THAT THESE TWO TIMES THAT HE SAW LINCOLN REALLY FORMED HIS IMPRESSION OF THE GREAT MAN AS HE CALLED HIM.

ST. GAUDINS ALSO READ HIS SPEECHES AND WRITINGS, AND REFERENCED PHOTOGRAPHS THAT WERE TAKEN OF LINCOLN DURING THE CIVIL WAR.

A VERY INTERESTING OPPORTUNITY AROSE FOR HIM IN 1885 WHEN AN ARTIST FRIEND OF HIS SHOWED ST.

GAUDINS PLASTER MODELS OF LINCOLN'S FACE AND HANDS.

AND THESE WERE MODELS THAT HIS FATHER, THE SCULPTOR LEONARD VOLLING HAD TAKEN FROM LIFE WHEN LINCOLN WAS RUNNING FOR PRESIDENT IN THE SPRING OF 1860.

SO ST. GAUDINS WAS ABLE TO USE THE LIFE MASK AS WELL AS THE MODELS OF THE HANDS TO INCORPORATE INTO HIS SCULPTURE.

HERE'S LINCOLN IN A TRANSITIONAL MOMENT, WE CAN PRESUME HE'S STOOD UP FROM THIS OVERSIZED CHAIR OF STATE.

WITH AN EAGLE EMBLAZENED ON ITS CREST RAIL.

AND HE IS IN THIS MOMENT OF CON TEM PLACE WHERE WE PRESUME IS ABOUT TO LIFT HIS HEAD TO ADDRESS THE AUDIENCE IN FRONT OF HIM AND SAY SOMETHING MEANINGFUL AND SERIOUS AND PROFOUND.

AND HE CAPTURES THE PENSIVENESS AND THE SOLEMNITY THAT LINCOLN FELT DURING THIS GREAT WAR.

HE WAS KNOWN FOR HIS ATTENTION TO NATURALISTIC DETAIL, NOT ONLY TO GETTING AN ACCURATE PORTRAIT AOF FACIAL REPRESENTATION, BUT ALWAYS THINKING OF LITTLE WAYS TO ENLIVEN THE COMPOSITIONS TO MAKE THEM MORE INTERESTING, WHETHER IT'S ATTENTION TO TEXTURAL DETAIL OR LITTLE NARRATIVE DETAILS THAT REALLY BRING THE PIECES ALIVE.

I'M CURATOR IN THE AMERICAN WING AT THE METROPOLITAN MUSEUM, AND I HOPE YOU'LL COME AND VISIT OUR GALLERIES AND PAY SPECIAL ATTENTION TO THE INSTILLATION OF OUR SCULPTURE COLLECTION.

♪♪

> HELLO, I'M RAPHEAL P. ROMAN, WELCOME TO THIS WEEK AT LINCOLN CENTER.

THE THEATERS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA AND DRAMA FROM AROUND THE WORLD.

IT'S TRULY THE INTERNATIONAL CROSSROADS OF ARTS AND CHAMBER.

JUILLIARD WILL BE PERFORMING ON DECEMBER 9th.

THE PROGRAM WILL FEATURE BEETHOVEN'S SYMPHONY NUMBER ONE IN C MAJOR.

STRAUSS AND MOZART, WITH DOUBLE BASE SOLOIST NINA BETTER NET.

FOR COMPLETE DETAILS VISIT JUILLIARD.EDU.

FOR MORE INFORMATION, YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

♪♪

> THANKS FOR JOINING US THIS EVENING.

I'M PHILIPPE DI MONTY BELLOW.

GOOD NIGHT AND SEE YOU NEXT TIME.

> NEXT WEEK ON NYC ARTS, A PROFILE OF THE PHOTOGRAPHER GREGORY KRUTZEN.

I DIVIDE MY LIFE BETWEEN PREPRODUCTION, PRODUCTION AND POST PRODUCTION.

PREPRODUCTION IS MAPPING OUT THE IMAGES.

WRITING THE DESCRIPTIONS AND THEN PRODUCTIONS ARE USUALLY ABOUT FOUR OR FIVE WEEKS WHERE WE'RE ALL TOGETHER MAKING PICTURES ALMOST EVERY DAY.

AND A VISIT TO THE LESLEY LOMAN MUSEUM IN SOHO.

IF YOU WALK INTO OUR MUSEUM, YOU'RE GOING TO SEE IMAGES THAT PRESENT PEOPLE EITHER FIGHTING FOR RIGHTS, COMMEMORATING LOVED ONES THAT PASS AWAY, CELEBRATING PRIDE.

BEING PROUD OF THEIR GAY CHILDREN AND SO MANY OTHER MOMENTS THAT REALLY BRING A HOLISTIC APPROACH TO THE MOVEMENT AND TO THE LIVES AND THE ULTIMATE EXPERIENCE.

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

WALTER.

THEA PETSCHEK IERVOLINA FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

EL ROY AND TERRY KRUMHOLTZ FOUNDATION.

GENE DUBINSKY APPLETON ESTATE.

AND ELLEN AND JAMES S. MARCUS.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS 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 BY FIRST REPUBLIC BANK.

> FIRST THINGS 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.

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

THIS WAS OUR MISSION FROM THE VERY FIRST DAY, IT'S STILL THE FIRST THING ON OUR MINDS.

> AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR OR LOOKING TO SELL.

INFORMATION AT SWAN