A profile of the glorious collective voice of The Metropolitan Opera Chorus, which is comprised of 80 fulltime singers. Followed by a tour of “JR: Chronicles” guided by Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives at the Brooklyn Museum. And a visit to the American Folk Art Museum where curator Valerie Rousseau tells the story of Marino Auriti’s “The Encyclopedic Palace.”

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> COMING UP ON 'NYC-ARTS, A BEHIND THE SCENES VISIT WITH THE FAMED METROPOLITAN CHORUS.

WE TRY TO PRESENT OURSELVES AS ONE CHARACTER IN ANY GIVEN OPERA, BUT WE'RE COMPOSED OF 80 INDIVIDUALS.

WE FIGURE OUT HOW TO CREATE A CHARACTER AS A CHORUS BY OUR MUSICAL EXPRESSION OF THE SCORE.

♪♪

AND A LOOK AT EXHIBITION J.R.

CHRONICLES AT THE BROOKLYN MUSEUM.

J.R.'S WORK DOESN'T FIT INTO A BOX.

IT'S AT THE INTERSECTION OF PHOTOGRAPHY, SOCIAL PRACTICE, PUBLIC ART.

WE WANTED IF IN EXHIBITION TO REALLY FOCUS ON J.R.'S COLLABORATIONS WITH COMMUNITIES AND REALLY THINKING ABOUT HOW HE GIVES A VOICE TO THOSE COMMUNITIES.

VERY OFTEN REPRESENTING THE UNDERREPRESENTED OR MISREPRESENTED.

FUNDING FOR WHY THE NYC-ARTS IS MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS SONNY TURNER FUND FOR DANCE, JODY AND JOHN ARON HOLD, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, ELROY AND TERRY KRUMHOLZ FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, THE MILTON AND SALLY AVERY ARTS FOUNDATION 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 THIRTEEN.

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

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

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

FIRST DECREE, BE A BANK WHOSE CURRENCY IS SERVICED IN IT 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.

♪♪

GOOD EVENING AND WELCOME TO 'NYC-ARTS.

I'M PHILIPPE DeMONTEBELLO AT THE TISCH STUDIOS AT LINCOLN CENTER.

WE BEGIN OUR PROGRAM TONIGHT WITH A VISIT TO ONE OF OUR NEIGHBORS ACROSS THE PLAZA, NEW YORK CITY'S WORLD RENOWNED METROPOLITAN OPERA.

THROUGHOUT THE SPRING DOZENS OF OPERAS MOST TALENTED SINGERS WILL GRACE THE MAIN STAGE DAZZLING US WITH UNPARALLELED VOCAL ARTISTRY.

EACH MET OPERA PRODUCTION IS UNIQUE AND CAPTIVATING STAR POWER.

HOWEVER, ONE VOICE LESS HERALDED IS HEARD IN EVERY PRODUCTION, THE COLLECTIVE VOICE OF THE METROPOLITAN OPERA CHORUS, COMPRISED OF 80 FULL-TIME SINGERS.

♪♪ ♪♪

THE CHORUS AT THE MET IS AN INTERESTING COMPONENT IN EVERY OPERA BECAUSE WE HAVE TO BE SO FLEXIBLE.

WE TRY TO PRESENT OURSELVES AS ONE CHARACTER IN ANY GIVEN OPERA, BUT WE'RE COMPOSED OF 80 INDIVIDUALS, AND SO MY JOB IS TO CONTROL THE MUSICAL ASPECT OF THE CHORUS' PRESENTATION.

I TRY TO GET THE SOUND TO BE UNIFIED AND TO COME ACROSS AS A CERTAIN CHARACTER.

HERE WE WORK ON OUR SOUND AND WE WORK ON OUR DICTION AND PHRASING.

WE FIGURE OUT HOW TO CREATE A CHARACTER AS A CHORUS BY OUR MUSICAL EXPRESSION OF THE SCORE, AND ONCE EVERYONE IN THE CHORUS KNOWS THIS, IT SORT OF FREES OUT.

♪♪ A NEW CHORUS AT THE MET IS USUALLY FACED WITH A CHALLENGE OF DECIDING, WHOA, I CAN'T MEMORIZE 24 OPERAS IN THE NEXT TWO WEEKS OR THREE WEEKS.

MY FIRST YEAR I WAS SURPRISED TO SEE MY 23 OPERAS THAT I WAS IN FOR THE SEASON BEING ROLLED IN ON A DOLLY TO MY DESK AND EVERYONE WISHING ME LUCK.

AND UH, IT WAS QUITE -- IT GETS EASIER AS THE YEARS GO ON OBVIOUSLY.

YOU DEVELOP A REPERTOIRE, BUT, YEAH, IT TAKES THREE OR FOUR TO FIVE YEARS TO REALLY SETTLE?

'TRAVIATA' WE NEED TO REHEARSE IT IN ENTIRE LONG GESTURES, THE PHRASE, EVEN THE ENTIRE PIECE TO GET A REAL SENSE OF THE STRUCTURE AND THE MUSICAL VAST OF THE PARTICULAR SEGMENT.

♪♪ ♪♪

IN THE CONCITATO AT THE END OF THE SCENE IN 'TRAVIATA' IT'S ALL ABOUT SINGING SOFTLY BUT SINGING WITH TELLING VIOLETA TAKE HEART, TAKE HEART.

WE'RE HERE FOR YOU, AND YOU CAN'T DO THAT IN THAT ENSEMBLE BY SINGING LOUDLY.

YOU HAVE TO DO IT BY SINGING INTENTLY WITH PURPOSE AND DIRECTION TO THE TONE.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪

GOOD.

REMEMBER WITH THIS YOU'RE INTRODUCING 'TRAVIATA' TO PEOPLE.

WE DON'T HAVE INDIVIDUAL LINES.

WE HAVE ONE COMMUNAL EXPRESSION.

♪♪ ♪♪ ♪♪

WITH WOZZECK YOU REALLY HAVE TO GO BAR BY BAR, ISRAEL NOTE BY NOTE TO MAKE SURE THE ACCURACY IS THERE BEFORE YOU CAN EVEN BEGIN TO RUN THE SECTION.

THERE'S ONE SECTION IN WOZZECK THAT WE WERE REHEARSING, AND IT BASICALLY LASTS ABOUT 30 SECONDS.

IT TAKES, I WOULD SAY, AT LEAST AN HOUR ON SINGING THAT LITTLE SEGMENT TO GET COMFORTABLE AND SECURE.

AH, WOZZECK.

WE'RE GOING TO PUT THE LAST PIECE OF THE PUZZLE TOGETHER.

THIS IS THE LAST LITTLE SEGMENT.

♪♪

ONE, TWO.

♪♪ ♪♪

WHOA, WHOA, WHOA.

ALTO, ALTO, ALTOS, ALTO, BASSES, CAN YOU PLEASE COME IN STRONGER ON YOUR BLUT ON YOUR 'D' NATURAL.

THAT SHOULD BE SECOND BASSES, HANDS?

ONCE MORE, PLEASE.

WOZZECK IS GOING TO BE A BIT OF A CHALLENGE.

IT'S REALLY ANGULAR MUSIC.

IT'S NOT ALWAYS PRETTY.

A LOT OF GERMAN TEXT THAT'S HARD TO CHEW ON SOMETIMES, BUT IT'S GOING TO BE A NEAT PRODUCTION.

I KNOW ALREADY.

IT'S BEEN AN INTERESTING JOURNEY COMING FROM THE BACKGROUND AS A SOLOIST AND LEARNING TO INCORPORATE MY VOICE MORE AND BLEND MORE AND JUST FIND MY WAY AS A CHORISTER.

♪ MENSCHENBLUT

AND THAT'S TIE.

YES, YOU'RE PUTTING IN AN EXTRA MEH-HEH.

THAT'S RIGHT.

AND IT'S TIE.

OKAY.

I FEEL SO -- F.

NO, NO, NO, NO, NO.

IT WAS DRIVING ME CRAZY.

IT'S LIKE WAIT A MINUTE Y'ALL.

BECAUSE THAT'S NOT WHAT I SEE.

THANK YOU SO MUCH.

♪♪

IT MAY SEEM LIKE WE'RE GATHERED TOGETHER IN A GROUP HUDDLE HERE IN LIST HALL BUT THEN WE GO OUT AND WE PLAY THE GAME AND, YOU KNOW, IF THE HUDDLE IS INTENSE, USUALLY THE RESULTS IN THE GAME ARE POWERFUL.

♪♪ ♪♪

I CAN'T THINK OF A BETTER SCENE TO START THE OPERA SOMEBODY WITH THAN DOING THE WITCHES OF MacBETH WITH YOU.

SOMETIMES DIRECTORS COME IN AND THEY SAY I HAVE 880 PEOPLE.

I'VE GOT TO MOVE THEM A AS A BLOCK.

WE NEED TO KEEP THE SOPRANOS TOGETHER.

WE NEED TO KEEP THE TENORS TOGETHER AND IT'S NOT LIKE THAT AT ALL.

THIS GROUP CAN FUNCTION AS INDIVIDUALS, AND IT'S SO GREAT TO WORK WITH PEOPLE LIKE GINA WHO KNOW US AS INDIVIDUALS AND IMMEDIATELY SHE CAN FIND WAYS TO ALLOW EVERYBODY TO BRING THEIR BEST.

GOOD.

NOW WHAT WE WANT TO SEE.

WE HAVE THE RIGHT?

IT'S THREE WITCHES IN 'MacBETH' SO IT'S REALLY IMPORTANT TO KEEP YOUR GROUPS SEPARATE HERE SO WE WANT TO KEEP A DEFINED GROUP, AND YOUR GROUP WILL BE ABLE TO COME MORE FROM AN ANGLE, AND YOUR GROUP WILL BE ABLE TO COME MORE FROM AN ANGLE.

OF COURSE, 'MacBETH,' THE PLAY, THE WITCHES ARE THREE INDIVIDUALS.

WE HAVE THREE INDIVIDUALS, BUT EACH INDIVIDUAL IS BASICALLY MADE UP OF ABOUT 14 OR 15 WOMEN, AND TO GET IS A WOMEN TO ARTICULATE A VERY EARTH-SHATTERING PROPHECY TO MacBET IN A VERY CONFIDENT, UNIFIED FASHION TAKES A LOT OF WORK.

AND IT'S THE FIRST SCENE OF THE OPERA.

YOU'RE SORT OF, YOU KNOW, GETTING GOING VOCALLY FOR THE EVENING, AND IT'S A QUESTION OF THE WITCHES AS THE BEGINNING OF 'MacBETH' HAVE TO BE TURNED ON IMMEDIATELY WHEN THEY MAKE THE FIRST DESCENT FROM THE TOP OF THE FOREST AND THEY COME RUNNING DOWN TO THE FRONT OF THE STAGE.

FT. ♪♪ ♪♪ ♪

WE'RE AN ENSEMBLE, AND IT'S ABOUT GETTING OUR SOUND REFINED, AND SO SOMETIMES YOU HAVE TO STEP BACK FROM TRYING TO BE A SOLOIST KIND THING.

YOU NEED TO BE WITH THE GROUP.

THE MET CHORUS IS ONE OF THE GREATEST CHORUSSES IN THE WORLD, AND THEY ARE THE CHORUS THAT I KIND OF GREW UP WITH BECAUSE I WAS A YOUNG ARTIST HERE AT THIS HOUSE.

THIS IS ONE OF THE BIGGEST ROLES I'VE EVER SUNG.

IN THE ONLY ARE THEY SUPPORTIVE EMOTIONALLY.

THEY ARE LITERALLY SUPPORTING ME.

THEY PICK ME UP SOMETIMES.

THEY HELP ME GET UP ON TABLES.

THEY HELP ME GET DOWN.

THEY HOLD MY HAND SO I FEEL REALLY COMFORTABLE WITH THEM AND GRATEFUL THAT THEY ARE HERE WITH ME.

♪♪

WE WILL PROBABLY RUN THE ENTIRE SCENE ONCE, JUST SO EVERYBODY GETS A SENSE OF THE FLOW OF THE SCENE AND THEN PROBABLY STOP, GO BACK AND DO AS MUCH NIT-PICKING AS WE HAVE TIME FOR.

JUST RELEASE LONG NOTES.

I LOVE THE NIT-PICKING PART.

IT THE SHOULD BE A LOT OF FUN.

IT SHOULD BE NOISY.

IT SHOULD BE CHAOTIC AND YET STILL STRUCTURED MUSICALLY.

THAT'S ALWAYS THE DIFFICULTY WITH THESE PARTY SCENES.

THEY HAVE TO SOUND LIKE EVERYBODY'S HAVING A GRAND OLD TIME AND EVERYTHING'S VERY SPONTANEOUS, BUT IT REALLY SUPPORT.

IT'S ALL VERY CONTROLLED AND VERY, VERY STRUCTURED MUSICALLY.

I THINK IF YOU WERE COMING TO THE MET AND YOU WANTED TO SEE WHAT THE CHORUS IS ABOUT, YOU SHOULD COME TO 'BUTTERFLY, MADAME BUTTERFLY' AND WATCH THE ENTRANCE OF BUTTERFLY IN THIS PRODUCTION WHERE THE ENTIRE GROUP OF GEISHAs APPEAR MAGICALLY COMING UP FROM THE BOTTOM OF THE STAGE, AND ALL OF A SUDDEN ALL APPEAR AT THE TOP OF THE HILL AS BUTTERFLY IS MAKING HER ENTRANCE.

THIS SIMPLE MOMENT WHERE EVERYTHING JUST SEEMS TO BE IN PLACE AND JUST HAPPENS, AND YOU SEE -- YOU SEE SIMPLICITY, AND IT'S SO BEAUTIFUL HERE AT THE MET.

♪♪

> NEXT, WE'LL VISIT THE BROOKLYN.

[ MUSIC ] FOR A LOOK AT 'J.J. CHRONICLES.'

IT IS THE LARGE OF THE SOLO MUSEUM EXHIBITION OF THE ARTIST KNOWN UPPED THE PSEUDONYM J.R.

BORN IN PARIS TO EASTERN EUROPA AND TUNISIAN IMMIGRANT PARENTS, HE IS A T.E.D. PRIZE WINNER AND AN OSCAR-NOMINATED FILMMAKER.

HE HAS RECEIVED ACCLAIM FOR HIS GLOBAL ARTS PROJECTS THAT BRING TOGETHER DIVERSE GROUPS OF PARTICIPANTS.

THEY ACT AS CATALYSTS FOR CONVERSATIONS ABOUT IMPORTANT SOCIAL ISSUES, FROM WOMEN'S RIGHTS TO IMMIGRATION AND TO GUN CONTROL.

'J.R. CHRONICLES' FILLS THE MUSEUM'S SOARING GREAT HALL.

THE WORK ON VIEW FEATURES SOME OF THE MOST ICON INNING PROJECTS FROM THE PAST 15 YEARS.

INCLUDED HERE, PHOTOGRAPHS, DIE RAM ARKSZ, FILMS AND DOCUMENTATION OF THE ARTIST'S INSTALLATIONS FROM AROUND THE WORLD.

♪♪

'J.R. CHRONICLES' IS J.R.'S LARGEST SOLO MUSEUM EXHIBITION TO DATE, AND IT REALLY FOCUSES ON HIS WORK OVER THE PAST IS A YEARS.

HE'S AN ARTIST WHO GREW UP IN PARIS, STILL LIVES IN PARIS AND NEW YORK.

J.R.'S WORK DOESN'T EASILY SORT OF FIT INTO A BOX.

IT'S AT THE INTERSECTION OF PHOTOGRAPHY, SOCIAL PRACTICE, PUBLIC ART.

WE WANTED IN THIS EXHIBITION TO REALLY FOCUS ON J.R.'S COLLABORATIONS WITH COMMUNITIES AND REALLY THINKING ABOUT HOW HE GIVES VOICE TO THOSE COMMUNITIES VERY OFTEN REPRESENTING THE UNDERREPRESENTED OR MISREPRESENTED.

WE'RE STANDING IN THE CENTER OF 'THE CHRONICLES OF NEW YORK CITY.'

IT'S HIS LATEST LARGE-SCALE MURAL.

IT WAS ONE THAT HE CREATED IN THE SUMMER OF 2018 WHERE HE TRAVELED TO ALL FIVE BOROUGHS OF NEW YORK CITY AND PHOTOGRAPHED 1,128 NEW YORKERS.

HE REALLY WANTED TO CAPTURE A SORT OF PORTRAIT OF NEW YORK CITY.

THIS IS PART OF A NUMBER OF LARGE-SCALE MURALS THAT HE'S DONE THAT HAVE BEEN INSPIRED BY DIEGO RIVERA.

HE CAPTURED SUCH A WIDE RANGE OF PEOPLE THROUGHOUT NEW YORK CITY, FROM BATHERS IN CONEY ISLAND TO NYPD OFFICER, FESTERS AND, YOU KNOW, FAMILY MEMBERS, AND IT REALLY IS JUST A WONDERFUL SORT OF COLLECTIVE PORTRAIT OF NEW YORK CITY.

IN CREATING 'THE CHRONICLES OF NEW YORK CITY' J.R. WAS REAL RETHINKING ABOUT HOW THIS CAPTURES A MOMENT BUT ALSO HOW ABOUT HOW ALL OF THOSE PEOPLE WHO ARE INVOLVED IN THIS MURAL WILL BE REMEMBERED 10, 20, 50 YEARS LATER WHEN PEOPLE LOOK BACK AT THIS WORK.

HE NOT ONLY TOOK THE PHOTOGRAPHS OF THOSE WHO PARTICIPATED BUT ALSO CAPTURED THEIR AUDIO STORIES, AND THOSE AUDIO STORIES ARE ALL AVAILABLE VIA AN APP AND VIA iPADS THAT WE HAVE ON DISPLAY IN THE GALLERY.

WE WERE REALLY EXCITED TO BE ABLE TO INCLUDE AS PART OF THE EXHIBITION SOME OF THE EARLIEST WORK THAT J.R. CREATED WHEN HE WAS REALLY JUST A TEENAGER, PHOTOGRAPHING HIS FELLOW GRAFFITI WRITERS AROUND PARIS AFTER HE HAD FOUND A CAMERA ON THE PARIS METRO IN 2000 AND SO WE INCLUDE A LOT OF THOSE PHOTOGRAPHS, MANY SO OF THE PHOTOCOPIES THAT HE THEN TOOK AND WHEAT PASTED AROUND CREATING HIS OWN SIDEWALK GALLONRIES OR THE EXPO 2 RUE.

WE ALSO WANTED TO SHOW A BIT OF J.R.'S PROCESS, HOW YOU GET FROM THE STEP OF THE PHOTOGRAPH TO THEN SEEING THESE LARGE-SCALE IMAGES ON THE SIDES OF BUILDINGS, YOU KNOW, AROUND THE WORLD.

WE INCLUDED A NUMBER OF THE CONTACT SHEETS THAT HE'S CREATED FOR A NUMBER OF THE SERIES THAT IS ARE INCLUDED IN THE EXHIBITION, AND MANY OF THOSE HAVE NOT BEEN SEEN BEFORE.

WE HAVE A SECTION IN THE EXHIBITION DEDICATED TO 'INSIDE OUT' WHICH IS A PROJECT THAT J.R. LAUNCHED IN 2011 AFTER HE WON THE T.E.D. PRIZE, AND THIS IS A RELATIVELY SIMPLE CONCEPT THAT ALLOWS PEOPLE TO TAKE PHOTOGRAPHS OF PEOPLE WITHIN THEIR COMMUNITIES.

THEY SEND THE FILES TO J.R.'S STUDIO.

THEY PRESENT HIM OUT AND SEND POSTERS BACK THAT ARE THEN WHOLE PASTE PEDESTRIAN ON PLAZAS, ON BUILDINGS IN THOSE COMMUNITIES, AND IT'S REALLY A WAY FOR PEOPLE TO THINK ABOUT HOW ART CAN CHANGE THEIR COMMUNITIES AND SINCE THAT PROJECT WAS LAUNCHED IN 2011 THERE'S BEEN INSIDE-OUT ACTIONS IN 141 COUNTRIES, AND NEARLY 400,000 PEOPLE HAVE TAKEN PART IN THAT PROJECT.

ONE OF THE REASONS THAT WE FELT IT WAS REALLY THE RIGHT MOMENT TO WORK WITH J.R. AND TO DO THIS MAJOR EXHIBITION, IT'S ALSO THE LARGEST SOLO EXHIBITION THAT WE'VE HAD IN THIS GREAT HALL, IS THAT HE FOCUSES ON A LOT OF ISSUES THAT ARE VERY PRESSING, FROM IMMIGRATION TO GUN CONTROL, AND IT'S VERY MUCH AT THE CENTER OF WHAT WE DO AT THE BROOKLYN MUSEUM AND THINKING ABOUT HOW TO CONNECT ART TO THE ISSUES THAT ARE MOST CONCERNING TO PEOPLE TODAY.

IN 2008 J.R. STARTED THE 'WOMEN ARE HEROES' SERIES WHEN HE TRAVELED TO RIO de JANIERO.

HE WENT THERE BECAUSE HE HAD READ AN ARTICLE ABOUT THESE YOUNG MEN WHO WERE MURDERED.

HE WAS THERE FOR NEARLY A MONTH MEETING WITH THE PEOPLE OF ONE OF THE OLDEST FAVELAS IN RIO AND WORKED WITH THOSE WOMEN, MANY OF THEM WHO WERE RELATED TO THE YOUNG MEN WHO HAD BEEN MURDERED, AND CAME UP THIS IDEA OF REAL EL CELEBRATING THEIR IMAGE.

VERY OFTEN THE WOMEN ARE NOT SEEN OR NOT HEARD IN THESE COMMUNITIES AND SO THEY CAME UP WITH THIS IDEA OF PUTTING PARTS OF THEIR FACES ON THE SIDES OF THE BUILDINGS.

SO IN THE FAVELA, THEY ARE LITERALLY SORT OF LOOKING DOWN AND BEING SEEN THROUGH THE REST OF RIO, BUT I THINK ONE OF THE OTHER THINGS THAT IS UNIQUE ABOUT THESE PROJECTS THAT J.R.

DOES IS THAT AS SOON AS THE PROJECT'S COMPLETE, J.R. LEAVES, AND SO WHEN THE NEWS MEDIA SHOWS UP, IT'S THE PEOPLE WHO PARTICIPATED, HIS COLLABORATORS, WHO ARE THE ONES WHO END UP SPEAKING FOR THE PROJECT.

OVER THE PAST SEVERAL YEARS AS J.R. HAS BEEN WORKING WITH VARIOUS COMMUNITIES, IT'S BEEN REALLY IMPORTANT TO HIM TO CONTINUE TO GIVE BACK TO THOSE COMMUNITIES.

AND SO, FOR EXAMPLE, WITH THE 'WOMEN ARE HEROES' PROJECT IN RIO, HE ENDED UP ESTABLISHING A SCHOOL FOR STUDENTS TO TAKE ART CLASSES, CASA AMARELA, THAT JUST CELEBRATED ITS TENTH ANNIVERSARY, AND IT'S REALLY A WAY FOR HIM TO CONTINUE TO GIVE BACK TO THOSE COMMUNITIES.

WE'VE ONLY TALKED ABOUT A FEW OF THE WORKS THAT ARE ON DISPLAY IN THE EXHIBITION, SO I WELCOME EVERYONE TO COME TO THE BROOKLYN MUSEUM TO SEE 'J.R. CHRONICLES.'

HELLO.

I'M RAFAEL PI ROMAN AND WELCOME TO THIS WEEK AT LINCOLN SEND.

THROUGH MARCH 7th THE METROPOLITAN OPERA PRESENTS THE NEW PRODUCTION OF 'AGRIPINA.'

HANDEL'S TALE OF INTRIGUE AND IMPRIORITY IN ANCIENT ROME.

SIR DAVID MAKIVIK AERO'S PRODUCTION BRINGS THE ACTION OF THIS BLACK COMEDY ABOUT THE ABUSE OF POWER TO THE PRESENT EXPLORING WHAT IT WOULD BE LIKE FOR THE ROMAN EMPIRE HAD NEVER FALLEN.

THE SATURDAY FEBRUARY 29th PERFORMANCE WILL BE TRANSMITTED LIVE TO 2,200 MOVE THEATERS AS AND MORE THAN 80 COUNTRIES AS PART OF THE MET'S LIVE IN HD SERIES.

FOR COMPLETE DETAILS PLEASE VISIT METOPERA.ORG.

WELCOME TO IT THE AMERICAN FOLK ART MUSEUM, MY NAME IS VALERIE ROUSSEAU, CURATOR FOR THE ART OF THE 20th AND 21st CENTURY.

WE ARE IN FRONT OF A VERY TYPICAL PIECE OF OUR COLLECTION.

THIS IS THE ENCYCLOPEDIC PALACE BY MEISHO AURITI, AN ITALIAN IMMIGRANT WHO SETTLED IN KENNETT SQUARE, PENNSYLVANIA AROUND 1938.

AND THERE HE OPENED A SHOP WHERE HE WAS AN AUTOBODY MECHANIC.

AND FOR ABOUT THREE YEARS IN THE BACKYARD OF HIS GARAGE HE WORKED ON HIS ARCHITECTURAL MODEL.

MARINO AURITI EXPLAINED HIS PROJECT IN A HIGHLY DETAILED SIX-PAGE STATEMENT OF PURPOSE.

HE SAID THIS BUILDING IS AN ENTIRELY NEW CONCEPT IN MUSEUMS, DESIGNED TO HOLD ALL THE WORKS OF MAN IN WHATEVER FIELD, DISCOVERIES MADE AND THOSE WHICH MAY FOLLOW.

EVERYTHING FROM THE WHEEL TO THE SATELLITE.

THE MODEL IS SEVEN FEET HIGH, AND IT'S ON A SCALE OF 1 FOR 200.

THE WHOLE COMPLEX IS AN OFF-WHITE AND BRONZE WOOD COMPOUND CENTERED AROUND A TOWER COMPOSED OF EIGHT SUPERIMPOSED CIRCULAR SECTIONS TOPPED BY A METAL SPIRE.

THERE ARE FOUR ARCHED MAIN ENTRANCES SURMONEYED BY THE FLAG OF ITALY, OF FRANCE, OF THE UNITED STATES AND SPAIN.

AURITI'S ATTENTION TO DETAIL AND FUNCTIONALITY ARE ASTOUNDING.

YOU HAVE, FOR INSTANCE, ABOUT 800 WINDOWS MADE OF CLEAR CELLULOID AND SWINGING METAL DOORS.

AURITI'S OWN PHILOSOPHY AND SETS OF VALUE ARE INSCRIBED ON TO THE PALACE.

YOU CAN READ THOSE DIFFERENT SENTENCES RELATED TO HIS OWN PERCEPTION OF HOW WE SHOULD BEHAVE AS CITIZENS, AS NEIGHBORS.

I DON'T THINK THAT HE WANTED TO BUILD IT JUST TO BE A MODEL.

HE WANTED TO REALLY REALIZE THAT ARCHITECTURE, AND IF THAT ARCHITECTURE WOULD HAVE BEEN BUILT, IT WOULD HAVE SPREAD OVER 16 CITY BLOCKS AND BEEN 136 STORIES HIGH.

MANY OF THE SELF-TAUGHT ARTISTS THAT WE HAVE IN OUR COLLECTION STARTED TO CREATE AT A SPET FIGURE TIME OF THEIR LIFE.

IT'S OFTEN LIKE A TURNING POINT.

THEY EXPERIENCE SOME SORT OF PSYCHOLOGICAL CHANGES IN THEIR LIFE.

THEY GOT INJURED.

THEY COULD NOT WORK ANYMORE.

IN THE CASE OF AURITI, HE LEFT ITALY TO ESCAPE THE FASCIST ITALIAN PARTY.

A BIT BEFORE HE PASSED AWAY, HE SAID HE WOULD BE HAPPY IF THIS PIECE WOULD BE IN A MUSEUM FOR FUTURE GENERATIONS, AND IT TOOK 33 YEARS FOR THE PIECE TO BE SECURED AT THE AMERICAN FOLK ART MUSEUM.

NEXT WEEK ON 'NYC-ARTS, A LOOK AT THE EXHIBITION STRETCHING THE CANVAS, NOW ON VIEW AT THE NATIONAL MUSEUM OF THE AMERICAN INDIAN.

I THINK IT WAS THE FIRST PRINT THAT SAID TO ME THIS IS WHAT I'M GOING TO DO THE REST OF MY LIFE.

IT'S THE ACTION THAT I HAD AND I REMEMBER BEING 6 YEARS OLD, 6 1/2 AND THINKING, I DON'T KNOW IT FEELS -- I'M IN MY ZONE NOW, AND LIGHTNING HIT ME.

THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE, AND SO I THINK YOU CAN BE BORN A PAINTER.

AND A VISIT TO THE FDR PRESIDENTIAL LIBRARY AND MUSEUM IN HISTORIC HYDE PARK, NEW YORK.

WANTED TO BE AN ARCHIVE AND ALSO A MUSEUM WHERE PEOPLE COULD COME AND LEARN MORE ABOUT HIM AND HIS ADMINISTRATION.

THANK YOU FOR JOINING US THIS EVENING.

I'M PHILIPPE DeMONTEBELLO AT THE TISCH STUDIOS AT LINCOLN CENTER.

GOOD NEGOTIATE AND WE'LL SEE YOU NEXT TIME.

♪♪ ♪♪ FUNNELEDING FOR 'NYC-ARTS IS MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS SONNY TURNER FUND FOR DANCE, JODY AND JOHN ARON HOLD, ELISE JAFFE, AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, ELROY AND TERRY KRUMHOLZ FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, THE MILTON AND SALLY AVERY ARTS FOUNDATION, 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 THIRTEEN.

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

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

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

FIRST DECREE, BE A BANK WHOSE CURRENCY 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