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The program was originally seen live in movie theaters on October 29, 2011 as part of the groundbreaking The Met: Live in HD series, which transmits live performances to more than 1700 movie theaters and performing arts centers in 54 countries around the world.

Great Performances at the Met is a presentation of THIRTEEN for WNET, one of America’s most prolific and respected public media providers. For nearly 50 years, WNET has been producing and broadcasting national and local arts programming to the New York community.

The classic tale of lust, heartbreak, and revenge stars charismatic Polish baritone Mariusz Kwiecien in his first-ever Met performances of the notorious title character. For the first time with Don Giovanni at the Met, Luisi conducts the performance from a cembalo in the orchestra pit.

Latvian soprano Marina Rebeka and German soprano Mojca Erdmann make their Met debuts as two of Giovanni’s female conquests, Donna Anna and Zerlina, opposite distinguished Mozartean Barbara Frittoli as the fiery Donna Elvira. Tenor Ramón Vargas sings the role of Donna Anna’s fiancé, the nobleman Don Ottavio, and bass-baritone Luca Pisaroni is Giovanni’s hapless manservant Leporello. Joshua Bloom sings the shepherd Masetto and Štefan Kocán is the vengeful Commendatore.

Grandage, the longtime artistic director of London’s Donmar Warehouse, won a 2010 Tony Award for directing John Logan’s drama Red. Last season, he directed new productions of Billy Budd at Glyndebourne and Madama Butterfly at Houston Grand Opera. His other Broadway credits include Peter Morgan’s docudrama Frost/Nixon, a 2009 staging of Hamlet starring Jude Law, and an upcoming revival of Andrew Lloyd Webber’s Evita in spring 2012.

Grandage’s design team includes his longtime collaborator Christopher Oram (sets and costumes), also a recent Tony Award winner for Red; lighting designer Paule Constable, who also designed this season’s Anna Bolena and Satyagraha; and choreographer Ben Wright, whose credits include numerous operas and musicals in England and Scotland. Oram and Wright make their Met debuts with this production.

Luisi, who was elevated to the position of Principal Conductor in September, led performances of Mozart’s Le Nozze di Figaro in the Met’s 2009-10 season and has a Met repertory that includes critically acclaimed performances of Verdi’s Don Carlo, Rigoletto, and Simon Boccanegra; Puccini’s La Bohème, Tosca, and Turandot; Richard Strauss’s Die Ägyptische Helena (the 2007 new production premiere), Elektra, and Ariadne auf Naxos; Berg’s Lulu; and Wagner’s Das Rheingold. He is also conducting Wagner’s Siegfried and Götterdämmerung, Massenet’s Manon, as well as a revival of Verdi’s La Traviata, all coming up on Great Performances at the Met.

Kwiecien has sung Don Giovanni at numerous international opera houses, including the Royal Opera House, Covent Garden; Munich State Opera; San Francisco Opera; Santa Fe Opera; and Warsaw Opera, earning praise for his accomplished vocalism and seductive interpretation. Don Giovanni is his fourth leading role in a new production at the Met, following his performances as Dr. Malatesta in Don Pasquale (2006), and Enrico in Lucia di Lammermoor (2007), all seen on Great Performances at the Met, as well as Escamillo in Carmen (2009).

Rebeka sang the role of Donna Anna last season at the Deutsche Oper Berlin under the baton of Roberto Abbado. Fellow debuting artist Erdmann sang Zerlina at the 2011 Baden-Baden Festival in a production conducted by Yannick Nézet-Séguin. Frittoli last sang Donna Elvira at the Met in the 2008-09 season.

Vargas makes his Met role debut as Don Ottavio, a role he last performed in Covent Garden’s 2008-09 season. Bloom made his Met debut as Masetto in the 2008-09 season. Slovakian bass Kocán will make his Met role debut as the Commendatore.

Renée Fleming hosts. Barbara Willis Sweete directs the telecast.

Great Performances is funded by Vivian Milstein, the Philip and Janice Levin Foundation, and Annaliese Soros. Corporate support for Great Performances at the Met is provided by Toll Brothers, America’s luxury home builder®.

For the Met, Mia Bongiovanni and Elena Park are Supervising Producers, and Louisa Briccetti and Victoria Warivonchik are Producers. Peter Gelb is Executive Producer. For Great Performances, Bill O’Donnell is Series Producer; David Horn is Executive Producer.

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Charles Isherwood of The New York Times observed, “[Composer] David Bryan evokes the powerhouse funk of James Brown, the hot guitar riffs of Chuck Berry, the smooth harmonies of the Temptations, the silken, bouncy pop of the great girl groups of the period.” The New York Post raved “Of such thrills, Broadway is made.” The Associated Press called Memphis “The very essence of what a Broadway musical should be.”

Memphis takes place in the smoky halls and underground clubs of the segregated 50’s, where a young white DJ named Huey Calhoun (Kimball) falls in love with everything he shouldn’t: rock and roll and an electrifying black singer Felicia Farrell (Glover). Memphis is an original story about the cultural revolution that erupted when his vision met her voice, and the music changed forever.

Filled with high-octane dancing, songs that perfectly capture the era, and an absorbing tale of fame and forbidden love, the show offers soaring emotion and roof-raising rock ‘n’ roll.

The show’s Tony®-winning original score features music by Bon Jovi’s founding member and keyboardist David Bryan and lyrics by Bryan and Joe DiPietro (I Love You, You’re Perfect, Now Change), who also pens the musical’s book. . The show is based on a concept by the late George W. George (producer of the Tony nominated Bedroom Farce and the film My Dinner With Andre), with direction by Tony nominee Christopher Ashley (Xanadu) and choreography by Sergio Trujillo, (Jersey Boys, Next to Normal).

The critically acclaimed production of Memphis won a total of four 2010 Tony Awards including Best Musical, Best Score (David Bryan and Joe DiPietro), Best Book (Joe DiPietro), and Best Orchestrations (David Bryan and Daryl Waters). Memphis is currently in its 3rd smash year on Broadway, delighting audiences nightly at the Shubert Theatre (225 West 44th Street).

Memphis recently launched a U. S. national tour in Memphis, TN, which opened to critical acclaim in October 2011 at the historic Orpheum Theatre.

Memphis will be released on Blu-ray™, DVD and digital download on January 24th by Shout! Factory, in association with Broadway Worldwide.

Great Performances is a production of THIRTEEN for WNET, one of America’s most prolific and respected public media providers. For nearly 50 years, WNET has been producing and broadcasting national and local arts programming to the New York community.

Great Performances is funded by The National Endowment for the Arts, the Irene Diamond Fund, Vivian Milstein, The Starr Foundation, the Philip and Janice Levin Foundation, Joseph A. Wilson, The LuEsther T. Mertz Charitable Trust, public television viewers, and PBS.

For Great Performances, Bill O’Donnell is series producer; David Horn is executive producer.

The high definition production was captured by Broadway Worldwide live-in-performance at the Shubert Theatre. Broadway Worldwide is led by executive producer Bruce Brandwen, with five-time Emmy® winning director Don Roy King and Grammy® winnng sound producer Matt Kaplowitz.

In September, the San Francisco Symphony and Tilson Thomas launched its milestone Centennial with a celebratory gala concert dubbed “Fanfare for a New Century” at Davies Symphony Hall.

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The two-hour broadcast is hosted by best-selling Bay Area author Amy Tan and features Tilson Thomas conducting the Orchestra and two of the leading artists of our time: legendary violinist Itzhak Perlman performing Mendelssohn’s Violin Concerto in E minor and the dynamic pianist Lang Lang performing Liszt’s Piano Concerto No. 1 in E-flat major.

The concert opens with Aaron Copland’s vivid portrayal of American prairie life, the Billy the Kid Ballet Suite and concludes with Britten’s orchestral showpiece The Young Person’s Guide to the Orchestra of which the San Francisco Chronicle said: “…as Thomas led his colleagues, section by section and soloist by soloist… the listener could only marvel at the level of individual excellence and communal artistry on display.”

Capping off the concert is an encore of Bay Area composer John Adams’ Short Ride in a Fast Machine featuring animated images of San Francisco projected throughout Davies Symphony Hall.

Woven into the concert footage, San Francisco Symphony at 100 includes historical documentary features narrated by Tan highlighting the Orchestra’s early beginnings, its rich history of touring and its commitment to young people and innovations in media.

On April 1st, San Francisco Symphony at 100 will also be released on DVD and Blu-ray with additional bonus historical features (though will not feature Lang Lang’s concert performance.)

San Francisco Symphony at 100 is a production of San Francisco Symphony and THIRTEEN in association with WNET.

Major funding for the telecast is provided by Nan Tucker McEvoy and the National Endowment for the Arts.  Great Performances is funded by the National Endowment for the Arts, the Anna-Maria and Stephen Kellen Arts Fund, Vivian Milstein, the LuEsther T. Mertz Charitable Trust, The Starr Foundation, the Filomen M. Di’Agostino Foundation, The Philip and Janice Levin Foundation, public television viewers, and PBS.

San Francisco Symphony at 100 is directed by Gary Halvorson. Executive Producer: John Kieser. Producer: Michael Bronson. The History Vignettes are produced by Janette Gitler. For Great Performances, Bill O’Donnell is series producer; David Horn is executive producer.

Recorded in April 2011 at the Frank Gehry-designed New World Center in Miami Beach, The Thomashefskys is written and hosted by Tilson Thomas and stars Broadway performers Judy Blazer as Bessie Thomashefsky and Shuler Hensley as Boris Thomashefsky.  It also features Ronit Widmann-Levy and Eugene Brancoveanu and the New World Symphony.

Founding members of the Yiddish Theater in America, the Thomashefskys owned theaters, published their own magazine, wrote columns in the popular Yiddish newspapers, sponsored and encouraged generations of young artists, brought uncountable numbers of Yiddish artists to America, tirelessly raised funds for progressive social causes and, though it all, were adventurous trend setters.

This story, reclaimed by The Thomashefky Project, presents a musical sound that few have heard, assimilating Eastern European klezmer and cantorial modes with American tunes and rhythms. Over time, as the Jewish American music theater writers became absorbed in their new surroundings, they greatly influenced the American Songbook.

The Thomashefskys is a very personal project for Tilson Thomas, celebrating the lives and theatrical and musical legacies of his grandparents.  Born out of his desire to preserve the music of the Yiddish theater, The Thomashefsky Project, founded in 1998, expanded from an archival role to this stage production hosted and conducted by Tilson Thomas and directed for the stage by Broadway veteran Patricia Birch.

It features music reconstructed from the original Yiddish theater repertoire interwoven with projected images and stories from Bessie and Boris’s lively memoirs.  “My grandparents became mega-stars and found themselves smack in the public eye,” says Tilson Thomas. “They were subject to adulation and relentless scrutiny. Legions of crazed fans were obsessed with every detail of their work and their lives.”

The stage version of The Thomashefskys has been performed to sold-out houses in New York, San Francisco, Chicago, Los Angeles, Philadelphia, Miami, and at Tanglewood in Massachusetts.  The San Francisco Chronicle said, “Thomas and his collaborators do what Yiddish artists always meant to do.  They make you forget your troubles for an evening, plunge into another world and feel your own more fully in the end.”

Following the national broadcast, The Thomashefskys: Music and Memories of a Life in the Yiddish Theater will be released on April 24 on DVD by New Video (www.newvideo.com). The New World Symphony was founded in 1987 by Michael Tilson Thomas and Ted Arison, and has launched the careers of over 800 musicians.

The Thomashefskys: Music and Memories of a Life in the Yiddish Theater is a production of The Thomashefsky Film Project LLC and THIRTEEN for WNET.

The Thomashefskys: Music and Memories of a Life in the Yiddish Theater is directed for television by Gary Halvorson. Producers: Joshua Robison, Michael Bronson, and Michael Kantor. For Great Performances, John Walker is producer; Bill O’Donnell is series producer; David Horn is executive producer.

Major funding for the telecast is provided by Arison Arts Foundation, Marcia and John Goldman, Carole and Jeffrey Hays and Lydia and Douglas Shorenstein, Stephen and Sandra Muss, the Bernard Osher Jewish Philanthropies Foundation, the Koret Foundation, The Aaron Copland Fund for Music, and the Lisa and John Pritzker Fund.

Great Performances is funded by the National Endowment for the Arts, Vivian Milstein, the LuEsther T. Mertz Charitable Trust, The Starr Foundation, the Filomen M. Di’Agostino Foundation, The Philip and Janice Levin Foundation, The DuBose and Dorothy Heyward Memorial Fund, public television viewers and PBS.

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The opera, a compelling dramatization of the tragic final days of Anne Boleyn—whose husband Henry VIII spurns her and has her sentenced to death—is directed by David McVicar and conducted by Marco Armiliato. The cast includes Russian mezzo-soprano Ekaterina Gubanova as Anna’s romantic rival, Giovanna (Jane Seymour); Russian bass Ildar Abdrazakov as the cruel Enrico (Henry VIII); American tenor Stephen Costello as Anna’s first love, Lord Percy; and American mezzo-soprano Tamara Mumford as the queen’s devoted page Smeton.

Great Performances at the Met is a presentation of THIRTEEN for WNET, one of America’s most prolific and respected public media providers. For more than 50 years, WNET has been producing and broadcasting national and local arts programming to the New York community.

The telecast was originally seen live in movie theaters on October 15 as part of the groundbreaking series, The Met: Live in HD, which transmits live performances to more than 1600 movie theaters and performing arts centers in 54 countries around the world.

Generally considered one of Donizetti’s finest operas, Anna Bolena is the first in a trilogy of works based on the lives of Tudor-era queens that David McVicar will direct at the Met over the next few seasons (the other two are Maria Stuarda and Roberto Devereux). McVicar, whose production of Il Trovatore aired on Great Performances at the Met in August, has created a historically detailed setting for the opera, which re-emerged as a musical and dramatic showpiece for extraordinary sopranos when Maria Callas starred in a famous 1957 La Scala revival of the work.

“Donizetti takes the bel canto form and explores every possible dramatic opportunity within it,” McVicar says. “The lynchpin of the story is Anna Bolena’s inability to provide Henry VIII with the male heir that he craves. And, of course, to be a wife of Henry VIII is to risk as much as you gain.”

She made her Met debut in 2002 as Natasha in Prokofiev’s War and Peace. Since then, Netrebko has sung nine additional roles with the company, including Donizetti’s Norina in Don Pasquale and Lucia in Lucia di Lammermoor. This spring, she will return to the Met as the hedonistic heroine of Massenet’s Manon in her second new production of the season, also to be broadcast on Great Performances at the Met.

Gubanova made her Met debut in a 2007 revival of War and Peace and starred as Giulietta opposite Netrebko’s Antonia in Bartlett Sher’s 2009 new production premiere of Offenbach’s Les Contes d’Hoffmann. At the Met, Abdrazakov has starred in the title role in the company premiere of Verdi’s Attila, as Méphistophélès in both Gounod’s Faust and Berlioz’s La Damnation de Faust, and as Raimondo in Lucia di Lammermoor. Rising young tenor Costello made his Met debut as Arturo, Lucia’s doomed husband, in the new production of Lucia di Lammermoor that opened the 2007-08 season. He sang the role of Percy at the Dallas Opera in the 2010-11 season.

The design team for Anna Bolena includes two artists making their Met debuts. Scenic designer Robert Jones collaborated with McVicar on the acclaimed 2005 Glyndebourne production of Handel’s Giulio Cesare and has designed numerous plays and musicals, including the Broadway productions of Tom Stoppard’s Rock ‘n’ Roll and the 2002 revival of Noises Off. Olivier Award-winning costume designer Jenny Tiramani, a leading authority on historical costuming, has designed for numerous theater productions and spent eight years as Head of Design at Shakespeare’s Globe Theatre in London. Paule Constable, whose Met credits include the company premiere of Philip Glass’s Satyagraha and this season’s new production of Mozart’s Don Giovanni, is the lighting designer for Anna Bolena. Her numerous honors include a 2011 Tony Award for her work on Broadway’s War Horse.

This production of Anna Bolena was made possible by a generous gift from Mercedes and Sid R. Bass.

Renée Fleming, who will star in Handel’s Rodelinda later this year on Great Performances at the Met, hosts. Gary Halvorson directs the telecast.

Great Performances is funded by Vivian Milstein, the Philip and Janice Levin Foundation, and Annaliese Soros. Corporate support for Great Performances at the Met is provided by Toll Brothers, America’s luxury home builder®.

For the Met, Mia Bongiovanni and Elena Park are Supervising Producers, and Louisa Briccetti and Victoria Warivonchik are Producers. Peter Gelb is Executive Producer. For Great Performances, Bill O’Donnell is Series Producer; David Horn is Executive Producer.

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Great Performances is a production of THIRTEEN for WNET, one of America’s most prolific and respected public media providers.

Having been credited with creating a new form of theater, to create Let Me Down Easy Smith interviewed an eclectic group of people (300 on three continents) and performs several in an evening that is funny, moving and engaging.

The title resonates on several levels reverberating with meanings of lost love, the faith that sustains people in times of difficulty, and ultimately, the end of life.

Smith, through her chameleon-like virtuosity, creates an indelible gallery of portraits, from a rodeo bull rider to a prize fighter to a New Orleans doctor during Hurricane Katrina, as well as boldface names like former Texas Governor Ann Richards, legendary cyclist Lance Armstrong, network film critic Joel Siegel, and supermodel Lauren Hutton. She performs 19 characters in the course of an hour and thirty five minutes. Their stories are alternately humorous and heart-wrenching, and often a blend of both. Building upon each other with hypnotic force, her subjects recount personal encounters with the frailty of the human body, ranging from a mere brush with mortality, coping with an uncertain future in today’s medical establishment, to confronting an end of life transition. The testimony of health care professionals adds further texture to a vivid portrayal of the cultural and societal attitudes to matters of health.

With keen observation and understated compassion, Smith – without judgment and maintaining the dignity of her subjects at all times — effortlessly submerges her own persona, and assumes her characters’ vocal and physical mannerisms with unerring accuracy.

Despite the profound poignancy of the issues at hand, Smith leavens the evening with many lighter anecdotes, some outright hilarious: choreographer Elizabeth Streb recounts how she accidentally set herself on fire as part of an elaborate birthday celebration; Smith’s own Aunt (Lorraine Colman) recalls the last (and distinctly unsentimental) words uttered by her elder sister; and when a Yale School of Medicine oncology fellow informs cancer patient Ruth Katz that the hospital has lost her records — he is dumbfounded to discover she is actually the associate dean of the medical school there. Other characters address the intensity of the will to live even in the face of dire sickness: University of Notre Dame musicologist Susan Youens rhapsodizes on the Adagio from Schubert’s String Quintet in C Major, one of over a thousand works Schubert composed before his untimely death at age 31; and while undergoing chemotherapy, Ann Richards defiantly tells of learning how to hang up the phone to preserve her precious “Chi.”

Called “the most exciting individual in American theater” by Newsweek magazine, Smith (Fires in the Mirror, Twilight: Los Angeles) turns on this occasion to tell a powerful story which points to the financial and psychological cost of care, the preciousness of life and the inevitability of our mortality.

“Even in the darkest hour, even where the crisis is the greatest, you’ll often find people who have the gift of grace, the gift of kindness, the gift of healing,” Smith observed. “Ultimately, through this play I am trying to spark a conversation that is easier, and maybe more enjoyable to have through art and entertainment than through politics.”

Let Me Down Easy was inspired by work she did at Yale School of Medicine, where she was invited as a visiting professor. Bill Moyers dedicated a full hour segment to profiling Ms. Smith and Let Me Down Easy, noting with amazement how her play transformed “a houseful of strangers” into “an intimate community.”

Throughout the evening, Smith assumes the parts of (in order):

• James H. Cone, author, reverend, and professor, Union Theological Seminary, NYC
• Elizabeth Streb, choreographer, Streb Dance Company, NYC
• Brent Williams, rodeo bull rider, Idaho
• Lance Armstrong, Tour de France Victor
• Sally Jenkins, sports columnist, The Washington Post
• Michael Bentt, world champion heavyweight boxer
• Hazel Merritt, patient, Yale-New Haven Hospital
• Lauren Hutton, supermodel
• Ruth Katz, patient, Yale-New Haven Hospital
• Kiersta Kurtz-Burke, physician, Charity Hospital, New Orleans
• Dr. Phillip A. Pizzo, dean, Stanford University School of Medicine
• Susan Youens, Musicologist, University of Notre Dame
• Eduardo Bruera, palliative care M.D., Anderson Cancer Center
• Ann Richards, former governor, Texas
• Lorraine Coleman, retired teacher, Anna Deavere Smith’s aunt
• Joel Siegel, ABC movie critic
• Peter Gomes, reverend, Memorial Church, Harvard University
• Trudy Howell, director, Chance Orphanage, Johannesburg
• Matthieu Ricard, Buddhist monk, author, French translator for the Dalai Lama

NBC’s Today raved, “Run – do not walk – to see this play! Watching Anna Deavere Smith on stage is magical. One minute you are laughing, the next you are crying. It is truly brilliant and stunning.” Variety heralded the work as “a totally vital piece of theater, mixing a standup comic’s instincts with a great reporter’s keen eye.” It was named one of Entertainment Weekly’s Top 10 of 2009.

On the West Coast, the San Francisco Chronicle declared the work “extraordinary,” and added, “This is Smith at the top of her unique documentary theater form, in writing, performance, and timeliness.”

Smith has been credited with creating a new form of theater. When granted the prestigious MacArthur Award, her work was described as “a blend of theatrical art, social commentary, journalism and intimate reverie.” She has performed in film and TV as well as on stage. She currently plays Gloria Akalitus on Showtime’s hit series Nurse Jackie, and is well remembered for her role of national security advisor Nancy McNally on NBC’s The West Wing. Her major film credits include “The American President,” “Philadelphia,” and “Rachel Getting Married.”

Smith’s Twilight: Los Angeles played around the U.S. and on Broadway. It received two Tony nominations, an Obie, Drama Desk Award, the New York Drama Critics Circle’s Special Citation and numerous other honors.

She produced, wrote and performed the film version of Twilight for PBS. Another of her plays, Fires in the Mirror, examined the Crown Heights riots in Brooklyn (1991), when racial tensions between black and Jewish neighbors exploded. It received an Obie Award, numerous other awards and was a finalist for the Pulitzer Prize. She performed the play around the U.S., in London and in Australia. The film version was also broadcast on PBS.

Let Me Down Easy – directed for the stage by theater and opera director Leonard Foglia — was directed for television by veteran Matthew Diamond (Cyrano de Bergerac, From Broadway: Fosse, Swan Lake with American Ballet Theatre, all for Great Performances, and an Oscar nominee for the 1999 documentary Dancemaker).

After its Arena Stage run, the production embarked on a national tour with stops at The Wexner Center for the Arts; Philadelphia Theatre Company; a collaborative presentation of San Diego REPertory Theatre, La Jolla Playhouse, and the Vantage Theatre, Berkeley Repertory Theatre, and The Broad Stage.

Great Performances is funded by the National Endowment for the Arts, the Irene Diamond Fund, Vivian Milstein, the Philip and Janice Levin Foundation, the Starr Foundation and Joseph A. Wilson, LuEsther T. Mertz Charitable Trust,public television viewers, and PBS. For Great Performances, Bill O’Donnell and Mitch Owgang are producers; O’Donnell is series producer; David Horn is executive producer.

Tony Bennett: Duets II, a presentation of THIRTEEN’s Great Performances, features the singer’s greatest hits, performed by Bennett and today’s biggest stars, including John Mayer, Michael Bublé, k.d. lang, Sheryl Crow, Willie Nelson, Queen Latifah, Norah Jones, Josh Groban, Faith Hill, Alejandro Sanz, Carrie Underwood and more.

The sessions, filmed to capture the magic of these performers singing with the master of the Great American Songbook, airs on Friday, January 27, 2012, at 9 p.m. on PBS (check local listings).

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Great Performances is a production of THIRTEEN for WNET, one of America’s most prolific and respected public media providers. For nearly 50 years, WNET has been producing and broadcasting national and local arts programming to the New York community.

The album took more than six months to record, with each track recorded face-to-face with his singer partners in studios around the world, from LA to Nashville to London.  Among the many highlights is Amy Winehouse’s last recorded track (“Body and Soul”), which was produced in London’s famous Abbey Road Studios in March.  Other tracks were recorded in New York in late July: the Richard Rodgers-Lorenz Hart classic, “The Lady Is a Tramp” with Lady Gaga, and the Alan and Marilyn Bergman classic, “How Do You Keep the Music Playing,” with Aretha Franklin, and “Stranger in Paradise” with Andrea Bocelli, recorded at the singer’s Italian home (see full track listing below).

The CD received kudos from all quarters. The Wall Street Journal noted that the singer was “…constantly reaffirming his position as pop music’s greatest living patriarch,” and Associated Press observed, “Tony Bennett is as timeless as the songs he sings on ‘Duets II.’”

The musical segments are highlighted by insights on the process from the performers, making for an up-close look at one of the year’s most celebrated recordings. The sessions were filmed by Oscar-winning cinematographer Dion Beebe (“Chicago,” “Memoirs of a Geisha,” “Collateral”), providing a personal, behind-the-scenes look at Bennett’s latest collaborations and his artistic approach with each song.

Entering his seventh decade as a recording artist with more than 100 albums and 15 Grammy Awards including the Grammy Lifetime Achievement Award, Bennett has earned his legendary status many times over.  He remains the Columbia recording artist with the greatest longevity at the label.  His 2007 primetime special, “Tony Bennett:  An American Classic,” won seven Emmy Awards and was directed by Academy Award winner Rob Marshall.

He has performed for Presidents Eisenhower, Kennedy, Johnson, Carter, Reagan, Geroge H.W. Bush, Clinton, George W. Bush and Obama.  He also worked with and marched alongside Martin Luther King in his 1965 civil rights march and was honored with the Martin Luther King’s Salute to Greatness Award.

In addition to performing, he is a visual artist as well, with three of his original paintings featured in the permanent collection at the Smithsonian, including his portraits of Ella Fitzgerald and Duke Ellington.  His humanitarian efforts are renowned, and the United Nations honored him with their Humanitarian Award in 2007.

He has published three books — his autobiography, The Good Life, and two collections of his paintings, Tony Bennett: What My Heart Has Seen and Tony Bennett in the Studio: A Life of Art and Music.  Bennett founded, in association with the Department of Education in New York City, the Frank Sinatra School of the Arts — a public arts high school in his hometown of Astoria, Queens. With his wife, Susan, he established Exploring the Arts, a charitable organization that supports arts education in NYC public high schools.  Exploring the Arts supports 14 public high schools throughout New York City.

In the fall of 2007, a documentary of Bennett’s life and career, produced by Clint Eastwood, “Tony Bennett: The Music Never Ends,” aired on THIRTEEN’s American Masters on PBS.

The full song program follows:

“The Lady Is a Tramp” (Lady Gaga)
“One for My Baby (And One More for the Road)” (John Mayer)
“Body and Soul” (Amy Winehouse)
“Don’t Get Around Much Anymore” (Michael Bublé)
“Blue Velvet” (k.d. lang)
“How Do You Keep the Music Playing” (Aretha Franklin)
“The Girl I Love” (Sheryl Crow)
“On the Sunny Side of the Street” (Willie Nelson)
“Who Can I Turn To (When Nobody Needs Me)” (Queen Latifah)
“Speak Low” (Norah Jones)
“This Is All I Ask” (Josh Groban)
“Watch What Happens” (Natalie Cole)
“Stranger in Paradise” (Andrea Bocelli)
“The Way You Look Tonight” (Faith Hill)
“Yesterday I Heard the Rain” (Alejandro Sanz)
“It Had to Be You” (Carrie Underwood)

Great Performances is funded by the National Endowment for the Arts, Vivian Milstein, the LuEsther T. Mertz Charitable Trust, the Starr Foundation, the Filomen M. D’Agostino Foundation, the Philip and Janice Levin Foundation, public television viewers, and PBS.

Tony Bennett: Duets II is produced by RPM TV Productions, Inc. For Great Performances, Bill O’Donnell is series producer; David Horn is executive producer.

Herbie Hancock, Gustavo Dudamel and the LA Phil Celebrate Gershwin, featuring that classic piece as well as “An American in Paris” and Hancock’s unique improvisation on the great standard “Someone to Watch Over Me,” airs on THIRTEEN’s Great Performances Friday, January 6 at 9 p.m. on PBS (check local listings).

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Since his early teens, Gershwin had been enamored with the music he heard uptown in Harlem, quickly becoming the center of the jazz universe. His first attempt at a serious composition, the mini-opera Blue Monday, a story about characters in a Harlem nightclub was a flop and received only one performance.

Upon seeing the opera, band leader Paul Whiteman was enthused enough to commission Gershwin to write a concert piece in the jazz idiom for a program of American music, and Gershwin, was emboldened to take it on. As he later explained, “I heard it as a sort of musical kaleidoscope of America – of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.”

Rhapsody was introduced on February 12, 1924, with the composer as soloist in Ferde Grofé’s orchestration for jazz band. The piece made an indelible mark on the history of American music, on the fraternity of serious composers and performers – many of whom were present at the premiere – and on Gershwin himself, for its enthusiastic reception encouraged him to other and more serious projects.

It was a trip to Paris that inspired Gershwin to work in earnest on a recent commission he had received from the New York Philharmonic, one that would capture in music the tumult of Paris’ streets with their distinctive taxi horns, and create a concert work that didn’t center on the piano.

Back in New York, Gershwin finished An American in Paris, which he subtitled “A Tone Poem for Orchestra.” In an interview in the August 18, 1928 edition of Musical America, he said of the work: “this new piece, really a rhapsodic ballet, is the most modern music I have ever attempted.” He also gave a brief “program note” of the work:

An American in Paris was wildly successful with audiences – and Hollywood – and established Gershwin as an original voice in concert halls worldwide, a voice that resonates to this day.

“Someone to Watch Over Me” was composed by George Gershwin with lyrics by Ira Gershwin for the musical Oh, Kay! (1926), where it was introduced by British star Gertrude Lawrence. It has been performed by numerous artists in both popular and jazz versions.
The Los Angeles Times noted admiringly, “The L.A. Philharmonic is noted for its flexibility, and the solo riffs were jazzy, authentic and unself-conscious, all of which is a real rarity in the symphonic world.”

Concurrently serving as Music Director of the Los Angeles Philharmonic (his third season), the Gothenburg Symphony Orchestra, and the Simón Bolívar Symphony Orchestra of Venezuela, Dudamel’s musical leadership spans three continents.

Beyond the forty-three weeks of his yearly schedule, he also guest conducts with a few of the world’s greatest orchestras each season. This season he returns to the Vienna Philharmonic and the Berlin Philharmonic, along with the Orchestre Philharmonique de Radio France in Paris and the Israel Philharmonic. He also returns to La Scala, where he regularly conducts, for a performance of Mahler Symphony No. 2.

Herbie Hancock is a true icon of modern music. Throughout his explorations, he has transcended limitations and genres. His illustrious career has spanned five decades and 14 Grammys, including Album of the Year for River: The Joni Letters.

Hancock also maintains a thriving career outside the performing stage and recording studio. Recently named by the Los Angeles Philharmonic as Creative Chair for Jazz, he currently also serves as Institute Chairman of the Thelonious Monk Institute of Jazz, and he’s a founder of The International Committee of Artists for Peace. Hancock was made a UNESCO Goodwill Ambassador in July of 2011.

In 2010, Hancock released the critically-acclaimed, multiple Grammy-winning CD, Herbie Hancock’s The Imagine Project. Utilizing the universal language of music to express its central themes of peace and global responsibility, the ‘Imagine’ project features a stellar group of musicians.

Herbie Hancock, Gustavo Dudamel and the LA Phil Celebrate Gershwin is a production of THIRTEEN in association with WNET, Bernard Fleisher Moving Images, WDR in cooperation with ARTE, Los Angeles Philharmonic Association, and C Major.

Great Performances is funded by The National Endowment for the Arts, the Anna-Maria and Stephen Kellen Arts Fund, Vivian Milstein, Jody and John Arnhold, The LuEsther T. Mertz Charitable Trust, The Starr Foundation, the Filomen M. D’Agostino Foundation, the Philip and Janice Levin Foundation, public television viewers, and PBS.

Herbie Hancock, Gustavo Dudamel and the LA Phil Celebrate Gershwin is directed by Enrique Sanchez Lansch. Producer: Bernhard Fleischer. Producer for WDR/ARTE: Lothar Mattner. For Great Performances, John Walker is producer; Bill O’Donnell is series producer; David Horn is executive producer.

From Vienna: The New Year’s Celebration 2012, featuring the infectious melodies of the Strauss Family and contemporaries, will air live Sunday, January 1 at 2:30 p.m. ET on PBS (check local listings) with an encore performance that evening at 7:30 p.m. (In New York, THIRTEEN will air the broadcast at 9 p.m.)

Watch a preview:

The venerable concert is the largest world-wide event in classical music reaching over a billion people annually through radio and television in 72 countries. The Vienna Philharmonic’s traditional New Year’s program has showcased Viennese musical culture at the highest level, and since the first television broadcast in 1959, sent the world a New Year’s greeting in the spirit of hope, friendship and peace. (The telecast has been a Great Performances tradition on PBS since 1985.)

Andrews is delighted to return to Vienna for what has become for her a most pleasurable tradition. “It is always a privilege and a wonderful spoiling to visit Vienna, especially at holiday time. The sights and sounds are glorious and I bask in the irresistible music all around me, particularly the beautiful Strauss waltzes.”

She has been a frequent and luminous presence on Great Performances, starting with “An Evening with Alan Jay Lerner” (1989); “Julie Andrews in Concert” (1990); “Some Enchanted Evening: Celebrating Oscar Hammerstein II” (1995); “Back on Broadway” which spotlighted her return to the Great White Way in “Victor/Victoria” (1995); “Hey, Mr. Producer! The Musical World of Cameron Mackintosh” (1998); “My Favorite Broadway: The Leading Ladies” (1999); its follow-up “My Favorite Broadway: The Love Songs” (2001); and the restoration of the classic 1957 “Rodgers & Hammerstein’s Cinderella” (2004). She also hosted the Emmy Award-winning series Broadway: The American Musical in 2004.

At press time, the musical program was scheduled to run as follows:

Joseph Hellmesberger Jun.
Danse Diabolique

Josef Strauss
Artists Greeting, French Polka, op. 274

Johann Strauss
Enjoy Life, Waltz, op. 340

Johann Strauss Sr.
Sperl Galopp, op. 42

Hans Christian Lumbye
Steam Railway, Galopp

Josef Strauss
Fireproof, French Polka, op. 269
(with The Vienna Boys’ Choir)

Eduard Strauss
Carmen Quadrille

Peter I. Tschaikowsky
Panorama from the Ballet “Sleeping Beauty”

Peter I. Tschaikowsky
Waltz from the Ballet “Sleeping Beauty”

Johann und Josef Strauss
Pizzicato Polka op. 25

Johann Strauss
Persian March, op. 289

Josef Strauss
Burning Love, Polka Mazurka, op. 129

Johann Strauss
Thunder and Lightning, Fast Polka, op. 324

Johann Strauss
Tick Tock, Fast Polka, op. 365

Johann Strauss
The Blue Danube Waltz, op. 314

Johann Strauss Sr.
Radetzky March, op. 228

As is customary with these broadcasts, Ms. Andrews will travel from her home base in the Musikverein hall itself to visit multiple picturesque Vienna landmarks: a steam railway for Lumbye’s “Steam Railway” gallop; the Belvedere Palace for the three ballet sequences, choreographed by Davide Bombana; and the Augarten Palais, home of The Vienna Boys’ Choir.

The Vienna Boys’ Choir is one of the oldest boys’ choirs existing in the world since 1498 when Maximilian I called the first dozen boys to the court as members of the newly formed court music band. Numerous vocalists, violinists, conductors, and pianists have sung in their ranks: Joseph Haydn, Franz Schubert, Karl Zeller, Hans Richter, Lovro von Matacic and Clemens Krauss. In the days of the First Republic they were regarded as Austria’s “singing ambassadors.” Since those days the Vienna Boys’ Choir has given concerts under nearly all the great conductors of this century: Claudio Abbado, Leonard Bernstein, Nikolaus Harnoncourt, Herbert von Karajan, Carlos Kleiber, Lorin Maazel, Riccardo Muti and Sir George Solti. And, every Sunday the Vienna Boys’ Choir sing solemn mass in Vienna’s Hofburg chapel, continuing a tradition unbroken since 1498.

Since the autumn of 2003, Mariss Jansons has been the principal conductor of the Bavarian Radio Symphony Orchestra and Chorus and since September 2004 principal conductor of the Royal Concertgebouw Orchestra in Amsterdam, therefore presiding over two of Europe’s most prestigious orchestras, both steeped in tradition.

From 1979 up to the year 2000, Jansons was music director of the Oslo Philharmonic, which during his tenure became an international orchestra of note. He was also involved with the Saint Petersburg Philharmonic as permanent conductor from 1971 until 1999. In addition to that he also appeared as principal guest conductor for the London Philharmonic Orchestra between 1992 and 1997. From 1997 until 2004 he was Music Director of the Pittsburgh Symphony Orchestra.

Mariss Jansons has worked together with the world’s most important orchestras, guesting with great success for leading American and European orchestras.

Jansons first conducted the New Year’s Concert of the Vienna Philharmonic in 2006.

On January 10, Sony Classical will release the live recording via CD-on-demand exclusively at Amazon.com and ArkivMusic and through all major digital service providers, followed by a nationwide CD release on January 24, and DVD and Blu-ray on February 7th.

Great Performances is funded by the Anna-Maria and Stephen Kellen Arts Fund, Vivian Milstein, Vera von Kuffner Eberstadt, The Starr Foundation and the Philip and Janice Levin Foundation, public television viewers, and PBS. Exclusive corporate support for the concert is provided by Rolex.

From Vienna: The New Year’s Celebration is directed by Karina Fibich, with John Walker as producer/writer. For Great Performances, John Walker and Cara Cosentino are producers; Bill O’Donnell is series producer; David Horn is executive producer.

Those expecting a simple ballet adaptation of the Disney animated film will be surprised to find a complex and intense portrayal of unrequited love and the resilience of the human spirit.

San Francisco Ballet – the oldest professional ballet company in America – received Neumeier’s rare permission to present the American premiere in March 2010, which was met with ecstatic audience response, and hailed by critics as “mesmerizing” and “moving.” The two-act production features an evocative score by the young Russian-American composer Lera Auerbach which mixes haunting melodic passages with moody undercurrents atonality and dissonance.

Neumeier created the ballet for The Royal Danish Ballet in 2005 to celebrate the 200^th anniversary of Andersen’s birth, and a subsequent Hamburg Ballet version premiered in 2007. Of all the famous writer’s stories, the choreographer chose this one because of its “very particular concept of love,” he says. “Love that is so strong that it can overcome boundaries, that it can transport her to new worlds, although it may seem to be self-destructive—because the Mermaid re-creates herself at the cost of extreme personal pain. But the story teaches us, at the same time, that no matter how strong our love may be, it doesn’t obligate the object of our love to love us in return.”

Neumeier, a Milwaukee-born American who has spent nearly his entire career in Europe, trained in Copenhagen and London and began his dancing and choreographic careers at Stuttgart Ballet. After only six years there, in 1969 he became director of the Frankfurt Ballet, where he caused a stir with his reinventions of classics such as Nutcracker and Romeo and Juliet. Four years later he began his tenure as director and chief choreographer of the Hamburg Ballet, and in 1978 he founded a school that now supplies more than 70 percent of the company’s dancers. He has created close to 140 ballets for his own company and as a guest choreographer for American Ballet Theatre, the National Ballet of Canada, and throughout Europe. His extensive list of honors includes dance and arts awards from the United States, Germany, France, Russia, Japan, Denmark, and several publications.

“We are grateful to our co-partners and sponsors for the opportunity to broadcast this truly unique and dazzling production,” said SF Ballet Executive Director Glenn McCoy. “San Francisco Ballet was very proud to present the United States premiere of John Neumeier’s The Little Mermaid, and we are thrilled that the Company has the opportunity to share it with wider audiences, not only nationally, but worldwide,” added McCoy.

San Francisco Ballet prima ballerina Yuan Yuan Tan (star of past Dance in America SFB productions such as Lar Lubovitch’s Othello and Helgi Tomasson’s Nutcracker) plays the title role.  She found a strong personal connection with the Mermaid, she says, in the character’s pursuit of “unconditional love. People dream about it. And [the Mermaid] tries to pursue it, and fails, but still believes in it.”

Written between the lines of this fable about personal sacrifice was a far more personal dimension—Andersen’s own torment. According to Neumeier, many scholars believe that this story is probably Andersen’s most autobiographical work. The writer had a history of falling in love with women he could not have, and a few men as well. This tale of unreciprocated love could well be his own; shortly before he wrote it he had suffered greatly at the marriage of Edvard Collin, a love interest who did not return his affections. “So in a sense,” Neumeier says, “Andersen’s disappointment [about Collin] is the jumping-off point for The Little Mermaid.”

Neumeier has played on that fact, expanding the ballet’s story to include a representation of Andersen in the character of the Poet. Neumeier didn’t intend to depict Collin specifically; instead, he says “the historical facts inspire and help to create a new Prince.”

Cast: Yuan Yuan Tan (The Little Mermaid); Lloyd Riggins (The Poet); Tiit Helimets (The Prince); Sarah Van Patten (The Princess); Davit Karapetyan (The Sea Witch). Music Director & Principal Conductor: Martin West.

The Little Mermaid from San Francisco Ballet is a production of the San Francisco Ballet Association, NDR/ARTE and THIRTEEN for WNET, in association with BFMI and C Major Entertainment.  It is produced by Judy Flannery and Bernhard Fleischer.  For Great Performances, Joan Hershey is producer; Bill O’Donnell is series producer; and David Horn is executive producer. It was directed for television by Thomas Grimm.  It will be released on DVD and Blu-ray by Naxos.

Major funding for the telecast, which was filmed in May at the San Francisco War Memorial Opera House and shot in high definition using eight cameras, is provided by The James Irvine Foundation, Lucy Jewett, Mrs. Jeannik Méquet Littlefield, the Bob Ross Foundation, Fang and Gary Bridge, the Helgi Tomasson Innovation Fund of the San Francisco Ballet Endowment Foundation, and Tim Dattels. Major funding for Great Performances is provided by the National Endowment for the Arts, Vivian Milstein, the LuEsther T. Mertz Charitable Trust, the Starr Foundation, the Filomen M. D’Agostino Foundation, the Philip and Janice Levin Foundation.