A behind-the-scenes look at the famed Metropolitan Opera Chorus and a visit to the Brooklyn studio of a contemporary violin-maker to discover the unique skills involved in creating an outstanding instrument.

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> COMING UP ON 'NYC ARTS,' A BEHIND-THE-SCENES VISIT WITH THE FAMED METROPOLITAN OPERA 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 VISIT TO THE BROOKLYN STUDIO OF A MODERN-DAY VIOLINMAKER TO DISCOVER THE UNIQUE SKILLS INVOLVED IN CREATING AN OUTSTANDING INSTRUMENT.

EVERY VIOLIN I MAKE, I HAVE REALLY EXHAUSTIVE RECORDS ON EVERY ASPECT AS I CAN.

IF I WANT TO MAKE ANOTHER ONE LIKE THAT, I HAVE A RECORD OF WHAT I DID.

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY -- TEA PECHA FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODY AND JOHN ARNHOLD, THE AMBROSE FOUNDATION.

ROSALIND P. WALTER, ELISE JAFFE AND JEFFREY BROWN, THE NANCY SIDEWATER FOUNDATION, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION.

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 IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS, FIRST BANKS 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 SWANN AUCTION GALLERIES.

SWANN 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, A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

♪ ♪ ♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN.

WE BEGIN OUR PROGRAM WITH A VISIT TO NEW YORK CITY'S WORLD-RENOWNED METROPOLITAN OPERA AT LINCOLN CENTER.

DUE TO THE ONGOING PANDEMIC, THE ENTIRE 2020-2021 SEASON WAS CANCELED, MUCH TO THE DISAPPOINTMENT OF ITS LOYAL AUDIENCES.

BUT THE NEXT SEASON IS NOW SCHEDULED TO OPEN ON SEPTEMBER 27th, WITH 'FIRE SHUT UP IN MY BONES' BY TERRENCE BLANCHARD, THE AWARD-WINNING JAZZ TRUMPETER AND FILM COMPOSER.

IT WILL BE THE FIRST OPERA BY A BLACK COMPOSER TO BE PERFORMED AT THE MET.

IN THE MEANTIME, THE MET OPERA IS COMMITTED TO BRINGING UNPARALLELED VOCAL ARTISTRY TO ITS AUDIENCE, EVEN WHILE THE STAGE IS DARK.

FREE NIGHTLY OPERA STREAMS CONTINUED THROUGH THE ENTIRE CLOSURE, CELEBRATING OPERA'S GREAT STARS WHO DAZZLE US FROM THE GRAND STAGE.

AND A NEW SERIES OF PAY-PER-VIEW RECITALS, MET STARS LIVE IN CONCERT, FEATURE LIVE PERFORMANCES BY SATELLITE FROM ALL OVER THE WORLD.

EACH MET OPERA PRODUCTION HAS UNIQUE AND CAPTIVATING STAR POWER.

WHAT YOU'LL ALSO HEAR IN EVERY PRODUCTION IS THE MAGNIFICENT 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 IN LITZ HALL WE WORK ON OUR SOUND, DICTION, 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 US.

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

I WAS QUITE 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 IT WAS -- IT WAS QUITE -- IT GETS EASIER AS THE YEARS GO ON, EASILY, YOU DEVELOP A REPERTOIRE.

BUT YEAH, IT TAKES THREE TO FOUR TO FIVE YEARS TO REALLY SETTLE IN.

'TRAVIATTA.'

WE NEED TO REHEARSE IN LONG GESTURES.

THE ENTIRE PHRASE, EVEN THE ENTIRE PIECE.

TO GET A REAL SENSE OF THE STRUCTURE AND THE MUSICAL VALUE OF THE PARTICULAR SEGMENT.

COME IN ON THIS CHORD.

♪ ♪

AT THE END OF THE SCENE IN 'TRAVIATTA, IT'S ALL ABOUT SINGING SOFTLY BUT SINGING WITH, 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 INTENSELY, WITH PURPOSE AND DIRECTION TO THE TONE.

♪ ♪ ♪ ♪ ♪ ♪

REMEMBER WITH THIS, YOU'RE INTRODUCING 'TRAVIATTA' TO PEOPLE.

WE DON'T HAVE INDIVIDUAL LINES, WE HAVE ONE COMMUNAL EXPRESSION.

♪ ♪

YOU REALLY HAVE TO GO BAR BY BAR, ALMOST NOTE BY NOTE, TO MAKE SURE THE ACCURACY IS THERE, BEFORE YOU CAN EVEN BEGIN TO RUN THE SEGMENT.

THERE'S ONE SECTION 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.

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

THIS IS THE LAST LITTLE SEGMENT.

♪ ♪ ♪ ♪

ALTA, BASSES, CAN YOU PLEASE COME IN STRONGER ON YOUR D NATURALS?

THAT SHOULD BE SECOND BASSES.

HANDS?

ONCE MORE, PLEASE.

'VOLTEC' IS GOING TO BE A CHALLENGE.

IT'S AN1 ANGULAR MUSIC, IT'S NO EASY, GERMAN TEXT THAT'S NOT EASY TO CHEW ON SOMETIMES.

BUT IT'S GOING TO BE A GOOD PRODUCTION, I KNOW ALREADY.

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 CHOIRSTER.

BUT PUTTING IN AN EXTRA, MATTER.

♪ THERE YOU GO, GO.

OKAY, I FEEL SO -- IT'S DRIVING ME CRAZY.

NO, NO, NO.

I'M NOT GOING TO DO THIS, Y'ALL ARE DOING THAT.

THANK YOU SO MUCH.

NO PROBLEM.

♪ ♪

IT MAY SEEM LIKE WE'RE GATHERED TOGETHER IN A GROUP HUDDLE HERE IN LITZ HALL.

THEN WE GO OUT AND WE PLAY THE GAME.

IF THE HUDDLE IS INTENSE, USUALLY THE RESULTS IN THE GAME ARE POWERFUL.

♪ ♪

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

SOMETIMES DIRECTORS THINK, I'VE GOT 80 PEOPLE, I'VE GOT TO MOVE THEM AS A BLOC, KEEP THE SOPRANOS TOGETHER, KEEP THE TENORS TOGETHER.

IT'S NOT LIKE THAT AT ALL.

THIS GROUP CAN FUNCTION AS INDIVIDUALS.

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.

IT'S REALLY IMPORTANT TO KEEP YOUR GROUP SEPARATE HERE.

WE WANT TO FIND THROUGH, 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 15 WOMEN TO ARTICULATE A VERY EARTH SHATTERING PROPHECY TO MacBETH IN A VERY CONFIDENT, UNIFIED FASHION, TAKES A LOT OF WORK.

AND IT'S THE FIRST SCENE OF THE OPERA.

YOU'RE SORT OF GETTING GOING VOCALLY FOR THE EVENING.

AND IT'S A QUESTION OF THE WITCHES AT THE BEGINNING OF MacBETH HAVE TO BE TURNED ON IMMEDIATELY WHEN THEY MAKE THIS FIRST DESCENT FROM THE TOP OF THE FOREST AND THEY COME RUNNING DOWN TO THE FRONT OF THE STAGE.

♪ ♪

WE'RE IN ENSEMBLE, IT'S ABOUT GETTING YOUR SOUND REFINED.

SOMETIMES YOU HAVE TO STEP BACK FROM BEING A SOLOIST KIND OF THING, YOU NEED TO BE WITH THE GROUP.

THE MET CHORUS IS ONE OF THE GREATEST CHORUSES IN THE WORLD.

THEY'RE THE CHORUS I GREW UP WITH.

I WAS A YOUNG ARTIST HERE.

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

THEY'RE NOT ONLY SUPPORTIVE EMOTIONALLY, LITERALLY THEY PICK ME UP, GET UP ON TABLES, HELP ME DOWN, HOLD MY HAND.

I FEEL REALLY COMFORTABLE WITH THEM AND GRATEFUL THAT THEY'RE HERE WITH ME.

♪ ♪

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

RELEASE LONG NOTES.

I LOVE THE NIT-PICKING PART.

IT SHOULD BE A LOT OF FUN, IT SHOULD BE NOISY, IT SHOULD BE CHAOTIC, YET STILL STRUCTURED MUSICALLY.

THAT'S THE DIFFICULTY WITH PARTY SCENES.

THEY HAVE TO SOUND LIKE EVERYBODY'S HAVING A GRAND OLD TIME AND EVERYTHING'S VERY SPONTANEOUS, BUT IT REALLY ISN'T, IT'S ALL VERY CONTROLLED AND VERY STRUCTURED MUSICALLY.

I THINK IF YOU WERE COMING TO THE MET AND WANTED EED TO SEE W THE CHORUS IS ABOUT, COME TO 'MADAM BUTTERFLY.'

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 SIMPLICITY.

AND IT'S SO BEAUTIFUL HERE AT THE MET.

♪ ♪

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

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> NEXT, 'NYC ARTS' VISITS THE BROOKLYN STUDIO OF A MODERN VIOLINMAKER TO DISCOVER THE UNIQUE SKILLS AND DELICATE PROCESS INVOLVED IN CREATING AN OUTSTANDING INSTRUMENT.

REGARDED AS ONE OF THE GREATEST CONTEMPORARY MAKERS, SAMUEL ZIG MANTOVICH DISCOVERED HIS CRAFT AS A TEENAGER AND WENT ON TO STUDY AT THE VIOLIN MAKING SCHOOL OF AMERICA IN SALT LAKE CITY.

EVER SINCE THEN HE HAS SPENT HIS CAREER CREATING VIOLINS FOR SOME OF THE WORLD'S MOST TALENTED MUSICIANS.

♪ ♪

I WAS INTERESTED IN SUL TOUR AND ART FROM AS LITTLE AS I CAN REMEMBER, ALWAYS DOING CUP OF TOUR.

I THINK I WAS GOOD AT IT AND EVERYONE ASSUMED I WOULD BE A PROFESSIONAL ARTIST.

WHEN I WAS 13 I RID A BOOK ABOUT A VIOLINMAKER.

I KIND OF GOT INTERESTED IN INSTRUMENT-MAKING.

IT USES ALL THE ATTRIBUTES OF ART BUT FOR PRACTICAL PURPOSE, AND IT HAS A CLEAR METRIC.

IT EITHER PERFORMS WELL AS A VIOLIN FOR THE MUSICIAN OR IT DOESN'T.

IT'S DEPENDANT ON KNOWLEDGE AND SKILL.

IF SOMEONE COMES TO ME TO HAVE A VIOLIN MADE, THERE'S A PROCESS WHERE I WANT TO UNDERSTAND, FIRST OF ALL, WHY DID THEY COME TO ME?

PRESUMABLY THEY'VE HEARD INSTRUMENTS OF MINE.

I WANT TO SEE THEIR VIOLIN.

I HAVE TO UNDERSTAND WHAT THEY WANT.

ARE THEY A SOLOIST?

ARE THEY A VERY AGGRESSIVE, STRONG PLAYER?

ARE THEY SOMEONE WHO IS A MORE SUBTLE PLAYER, SOFTER?

THEN I WILL GO BACK TO MY SHOP, AND THEN IT'S UP TO ME TO DECIDE WHAT I WILL MAKE FOR THEM THAT WILL SERVE THEIR NEEDS.

ALL AROUND ME HERE, THERE'S MY WOOD STOCK, OR SOME OF MY WOOD STOCK.

IT'S KIND OF LIKE A COLLECTION OF WINE OR SOMETHING.

IT COMES FROM ALL OVER EUROPE, AND I'VE BEEN BUYING WOOD FROM THE BEGINNING OF MY CAREER.

IT HAS TO SIT FOR A LONG TIME, BUT THEN I CAN GO THROUGH THAT.

I PICK WOOD BASED NOT JUST VISUALLY BUT ON ITS DENSITY, ITS THICKNESS, HOW I THINK IT WILL BEHAVE IN THIS MODEL.

FIRST I HAVE TO MAKE WHAT'S CALLED THE RIB STRUCTURE, WHICH IS THE SIDES.

AND THOSE ARE BENT OUT OF VERY THIN WOOD AROUND A FORM WHICH I'VE DESIGNED.

FROM THE RIBS, FROM THE SIDES I'VE MADE, I WILL CREATE THE OUTLINE OF THE INSTRUMENT.

SO THE TOP AND THE BACK.

WHILE THE RIBS ARE BENT, THE TOP AND THE BACK, THEY HAVE AN ARCH THAT'S CARVED IN.

BECAUSE IT'S A COMPOUND ARCH IN NEW DIRECTIONS.

THE ARCHING IS CRITICAL TO THE TONE COLOR.

PROBABLY THE MOST IMPORTANT PART OF THE VIOLIN IS THE FRONT, THE TOP.

THAT'S THE PART THAT VIBRATES THE MOST.

AND THAT'S MADE OUT OF SPRUCE, EUROPEAN WOOD, THE WOULD THE WOOD THAT IS STRONGEST BY WEIGHT.

WHILE I'M MAKING IT, I'M RELATING TO IT IN A VISUAL AND TACTILE WAY.

WHEN IT'S WORKING AS A VIOLIN IT'S GOING TO BE VIBRATING IN A WAY THAT IS NOT VISIBLE TO THE EYE BUT IS VERY REAL.

IT LIKE A LONG CHESS GAME.

I WON'T KNOW IF I'VE MADE THE RIGHT CALL UNTIL THE INSTRUMENT IS STRUNG UP AND HAS BEEN PLAYED AWHILE.

IT CROSSES A LINE FROM BEING SOMETHING YOU JUST MADE, LIKE A CHEST OF DRAWERS OR HUTCH, TO BEING SOMETHING THAT IS VIBRATING IN RESPONSE TO HUMAN INTERACTION.

♪ ♪

IT'S NOT ALIVE EXACTLY, BUT IT'S LIKE IT'S ALIVE.

EVERY VIOLIN I MAKE, I KEEP REALLY EXHAUSTIVE RECORDS ON EVERY ASPECT ABOUT IT THAT I CAN.

WOOD CHOICE, MODEL, ARCHING, THICKNESSES, WEIGHTS, TONES, VARNISHES, BASE BOARD DIMENSIONS.

IF AN INSTRUMENT OF MINE COMES BACK AND I REALLY LIKE IT, I WANT TO MAKE ANOTHER LIKE THAT, I HAVE SOME RECORD OF WHAT I DID.

ON THE OTHER HAND, IF SOMEONE COMES IN AND LIKE, WELL, IT'S NOT AS OPEN AS IT SHOULD BE, OR IT'S NOT AS FOCUSED.

I CAN LOOK AT MY NOTES AND SEE, WELL, I MAY HAVE BEEN A LITTLE CONSERVATIVE ON THAT, I MIGHT HAVE A LITTLE ROOM TO TAKE A LITTLE WOOD OUT.

OR, THAT ONE MIGHT BE A LITTLE TOO FLEXIBLE, MAYBE I SOME PUT IN A LITTLE REINFORCEMENT.

YOU NEVER REALLY UNDERSTAND SOMETHING UNTIL YOU HAVE TO EXPLAIN IT TO SOMEBODY ELSE.

IT PUTS ME ON THE SPOT ALL THE TIME WHILE I TEACH.

MOST OF THE GREAT SHOPS, INCLUDING STRADIVARI, WERE STUDIOS.

PEOPLE WORKING INDIVIDUALLY WILL WORK DIFFERENTLY.

ON THE ONE HAND I'M TRAINING MY COMPETITION.

ON THE OTHER HAND, I FEEL IT'S A TRIBUTE TO THE SYSTEM THAT I PRACTICE.

I'M NOT A MAGICIAN.

I BUILD THINGS BASED ON -- WITH A METHOD, BASED ON SKILL.

IF I CAN CONVEY THAT, THEN IT'S SORT OF -- YOU COULD SAY PROOF OF CONCEPT.

ART NEVER EXISTS IN A VACUUM.

ONE OF THE SOURCES OF KNOWLEDGE THAT GO INTO IT, WHAT ARE THE QUALITY OF PEOPLE THAT ENTER THE FIELD?

IT'S PULLED FORWARD BY THE DEMANDS OF THE CLIENTELE OR THE AUDIENCE.

I'VE HAD WONDERFUL OPPORTUNITIES WORKING WITH GREAT MUSICIANS.

I GOT CONTACTED BY ISAAC STERN TO MAKE A COPY OF HIS INSTRUMENT.

TO MEET ISAAC STERN FOR ME WAS LIKE -- IT'S LIKE -- I DON'T KNOW, MEETING THE POPE OR SOMETHING.

LEGENDARY.

♪ WHEN THE INSTRUMENT WAS FINALLY DONE, I BROUGHT IT TO MR. STERN.

HE WAS INCREDIBLY GRACIOUS.

♪ WHEN MR. STERN PASSED AWAY, THE TWO INSTRUMENTS THAT I'D MADE FOR HIM WERE PART OF HIS ESTATE.

AND THEY WERE AUCTIONED OFF.

THAT VIOLIN WAS RECENTLY SOLD TO CHAD HOOPS, A WONDERFUL SOLOIST IN HIS 50s.

I THINK IT'S A FITTING PLACEMENT AND I THINK MR. STERN WOULD BE VERY PLEASED.

♪ ♪ IT WAS AN ODD FEELING TO SEE THAT MY WORK HAS NOW LEFT MY PURVIEW.

IT HAS NOW ENTERED THE WORLD WHERE IT LIVES ITS OWN LIFE, AND IT HAS ITS OWN HISTORY.

AND I FEEL LIKE I SEE MY OWN WORK GO FROM A DECENT ALTERNATIVE FOR A MUSICIAN, TO BEING SOMETHING THAT IS SOUGHT AFTER, THAT HAS A PLACE IN THE HISTORY OF VIOLIN-MAKING.

♪ ♪

> NEXT WEEK ON 'NYC ARTS' A PROFILE OF JAMES WHITESIDE, PRINCIPAL DANCER WITH AMERICAN BALLET THEATER.

SO I WAS 9 YEARS OLD WHEN I STARTED DANCING.

JAZZ, BALLET, TAP, ACROBATICS AT A LOCAL SCHOOL IN FAIR FEEL, CONNECTICUT.

I GOT INTO DANCING BECAUSE I HAD TRIED EVERYTHING ELSE.

FOOTBALL, BASEBALL, SOCCER.

AND MY MOM ONE DAY THREW ME A PHONE BOOK AND SAID, YOU HAVE TO PICK SOMETHING, YOU'RE DRIVING ME CRAZY, YOU HYPERACTIVE MONSTER.

♪ SO I FOUND AN AD FOR A DANCE STUDIO IN THE PHONE BOOK.

AND IT WAS OF A MAN HOLDING A WOMAN OVER HIS HEAD WITH ONE HAND.

AND IT JUST LOOKED AWESOME.

AND I SAID, I WANT TO TRY THAT.

AND A VISIT TO THE MUSEUM OF ARTS AND DESIGN FOR A LOOK AT THE EXHIBITION 'BETH LIPPMAN.'

YOU CAN SEE HOW HER WORKS BECOME LARGER IN SCALE, THIS SPREAD WHERE YOU'RE LOOKING AT THE SUMPTUOUS RESIDUE AND DETRITUS OF A FEAST THAT WASN'T CLEANED UP, IT'S LANGUISHING THERE ON THE TABLE.

AND THERE ARE TEXTILES AND GOBLETS AND BOOKS AND ALL THESE MARKERS OF CULTURE AND CIVILIZATION.

BUT SIMULTANEOUSLY KIND OF POINTING OUT THIS EXCESSIVENESS.

> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN.

THANKS SO MUCH FOR JOINING US.

HAVE A GOOD NIGHT.

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

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN.

I'M PHILIPPE de MONTEBELLO AT WNET TISCH STUDIOS AT LINCOLN CENTER.

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 TO 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 HARBURG'S LYRICS, I SUDDENLY THOUGHT, THAT'S WHAT I WAS TO DO WITH MY LIFE.

MY PICTURES RESIDE IN 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 LEARNED IS THAT MATISSE USED PENS TO COMPOSE HIS WORK.

YOU ALWAYS ARE SURPRISED WHEN YOU'RE IN AN OPERA, DOING A PIECE FROM 100 YEARS AGO, AND YOU THINK, OH MY GOSH, THIS COULD BE NOW.

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

SUDDENLY YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW?

♪ ♪

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY -- TEA PECHEUROLINO FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODY AND JOHN ARNHOLD, THE AMBROSE FOUNDATION.

ROSALIND P. WALTER, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALLE GEICHER, THE NANCY SIDEWATER FOUNDATION, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION.

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 IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS, FIRST BANKS 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 SWANN AUCTION GALLERIES.

SWANN 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, A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.