>>> COMING UP ON "NYC ARTS" A BEHIND THE SCENES VISIT WITH THE METROPOLITAN CHORUS, A COLLECTIVE VOICE OF CAPTIVATING POWER.

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

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

>> A VISIT TO THE BROOKLYN MUSEUM AND THE REAL AND IMAGINED IN EUROPEAN ART.

>> A GREAT PAIR IN THE EXHIBITION IN THE PERFORMING LABOR SECTION AND THEY BOTH ARE DEPICTING PEOPLE AT WORK IN THE FIELD SORT OF RUSTIC LABOR.

AND WHAT'S REALLY FASCINATING ABOUT LOOKING AT THESE WORKS IS THINKING ABOUT WAYS PEOPLE AT THE TIME INTERPRETED THAT.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER 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 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, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

>>> GOOD EVENING AND WELCOME TO "NYC ARTS."

I'M PHILIPPE DE MONTEBELLO.

MOST RECENTLY THE SITE OF THE MET, THE COLLECTION RESIDES HERE WHILE ITS BUILDINGS ON EAST 70th STREET UNDERGO RENOVATION.

ONE OF THE WORLD'S MOST FINEST COLLECTIONS OF EUROPEAN FINE ARTS AND DECORATIVE ARTS THE FRITZ HOLDINGS HAVE GROWN OVER THE DECADES, MORE THAN DOUBLING ITS SIZE SINCE THE OPENING OF THE MUSEUM IN 1935.

IT BEGAN WITH HENRY CLAY.

IN THE DEPARTURE FROM THE LAVISH DOMESTIC SETTINGS OF THE FRICK MANSION WORKS ON VIEW HERE HAVE BEEN THOUGHTFULLY PLACED IN THE MODERNIST BUILDING DESIGNED BY MASELL BROIER.

HERE THE COLLECTIONS ARE ORGANIZED LOOSELY BY TEAM PERIOD, GEOGRAPHIC REGION AND ALSO MEDIA ALLOWING FOR FRESH COMPARISONS AND INSIGHT.

HIGHLIGHTING STRENGTHENS IN PARTICULAR SCHOOLS, GALLERIES AT FRICK MADISON ARE DEDICATED TO NORTHERN EUROPEAN, ITALIAN, SPANISH, BRITISH AND FRENCH ART AND INCLUDES ROOMS DEVOTED TO INDIVIDUAL ARTISTS.

THESE GROUPINGS REVEAL UNEXPECTED REVELATIONS BETWEEN SUBJECT ARTIST AND MEDIA.

CURRENTLY ON VIEW IS THE SPECIAL EXHIBITION THE GIFT.

IT REPRESENTS THE LARGEST AND MOST SIGNIFICANT PROMISED GIFT OF DRAWINGS AND PASTELS IN THE FRICK COLLECTIONS HISTORY.

OVER THE PAST 45 YEARS THEY'VE ASSEMBLED AN OUTSTANDING COLLECTION OF EUROPEAN WORKS ON PAPER RANGING IN DATE FROM THE END OF THE 15th CENTURY TO THE 20th CENTURY AND REPRESENTING ARTISTS WORKING IN FRANCE, P BRITAIN, ITALY, SPAIN, AND THE NETHERLANDS.

THE GIFT INCLUDES 26 OF THESE WORKS, 18 DRAWINGS, FIVE PASTELS, TWO PRINTS AND ONE OIL SKETCH.

ALONG WITH PREPARATORY FIGURATIVE SKETCHES AND PORTRAITS ARE TWO VIVID LANDSCAPE SCENES.

AS FITTING ADDITIONS FOR THE FRICK ARTISTS REPRESENTED INCLUDE -- THE GROUP ALSO INTRODUCES THE HOLDINGS WORKS BY ARTISTS THAT ARE NOT REPRESENTED IN ITS PRIMARY AREAS OF COLLECTING.

THEY INCLUDE -- THE GIFT WILL BE ON VIEW THROUGH FEBRUARY 26th.

ON TONIGHT'S PROGRAM WE GO BEHIND THE SCENES AT NEW YORK CITY'S WORLD RENOWNED METROPOLITAN OPERA.

HERE THE WORLD'S MOST TALENTED SINGERS HAVE GRACED THE STAGE DAZZLING US WITH UNPARARELLED MA MAGISTERY.

PLAYING THE ROLE OF A MYTHIC SORCEROUS WHO WILL NOT STEP IN HER QUEST FOR VENGEANCE.

IT RETURNS THIS FALL WITH ADDITIONAL PERFORMANCES IN THE SPRING.

THREE SOPRANOS WILL SHARE THE ROLE OF THE THREE PARTICIPATORS.

ALLEN CLAYTON TAKES ON THE TITLE ROLE IN THIS 20th CENTURY MASTERPIECE.

THE CAST ALSO INCLUDES A SOPRANO AND BASS BARITONE.

THE VIBRANT PRODUCTION OF -- WOULD ALSO BE PERFORMED THIS SEASONCH THREE CASTS WILL SHARE THE ROLE, ONE OF OPERA'S GREATEST HEROINES.

EACH MET OPERA PRODUCTION HAS A UNIQUE AND CAPTIVATING POWER, HOWEVER ONE VOICE LESS HERALDED IS HEARD IN THE PRODUCTION.

IT IS THE COLLECTIVE VOICE OF THE METROPOLITAN OPERA CHORUS.

THEIR HERO IS A CELEBRATED CHORUS MASTER.

HE SPENDS A TREMENDOUS AMOUNT OF TIME AND CARE PERFECTING MUSICAL SELECTION OF THE SCORES.

HERE IS A LOOK BACK AT THEIR RIGOROUS PREPARATIONS TO PERFORM ON THE MAIN STAGE.

>> THE COURSE AT THE META IS AN INTERESTING ASPECT IN EVERY OPERA BECAUSE WE HAVE TO BE SO FLEXIBLE.

WE HAVE 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 THE HALL WE WORK ON OUR SOUND.

WE WORK ON OUR DICTION.

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

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

YOU DEVELOP A REPERTORY.

BUT TAKES THREE, FOUR, FIVE YEARS TO SETTLE IN.

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

♪ >> AT THE END OF THE SCENE IT'S ALL ABOUT SINGING SOFTLY BUT SINGING -- SINGING TELLING TO 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 AND WITH PURPOSE AND DIRECTION TO THE TONE.

♪ >> REMEMBER WITH THIS YOU'RE INTRODUCING TRAVIATA 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 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.

WE'RE GOING TO PUT THE LAST PIECE TOGETHER.

THIS IS THE LAST LITTLE SEGMENT.

ONE, TWO, OFF.

WHOA, ALTOS, ALTOS.

CAN YOU PLEASE COME IN STRONGER ON YOUR "D" NATURAL.

HANDS.

ONCE MORE, PLEASE.

>> IT'S GOING TO BE A BIT OF A CHALLENGE.

IT'S REALLY ANGULAR MUSIC.

IT'S NOT ALWAYS PRETTY.

A LOT OF GERMAN TEXT 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 CHORUSTER.

>> YOU'RE PUTTING AN EXTRA MEHE.

>> IT'S DRIVING ME CRAZY.

IT'S NOT WHAT I SEE.

THANK YOU SO MUCH.

>> NO PROBLEM.

♪ >> IT MAY SEEM LIKE WE'RE GATHERED TOGETHER IN A GROUP HUDDLED HERE, BUT THEN WE GO OUT AND PLAY THE GAME.

AND 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 SEASON WITH THAN DOING THE WITCHES OF M MACBETH WITH YOU.

>> SOMETIMES DIRECTORS COME IN THINKING I'VE GOT TO MOVE THEM AS A BLOCK, WE NEED TO KEEP THE SOPRANOS TOGETHER, THE TENORS TOGETHER.

AND IT'S SO GOOD TO WORK WITH PEOPLE WHO KNOWS US AS INDIVIDUALS.

>> WE HAVE THREE WITCHES IN MACBETH, SO IT'S REALLY IMPORTANT TO KEEP YOUR GROUPS SEPARATE HERE.

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 ABOUT 14 AND 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, YOU KNOW, GETTING GOING VOCALLY FOR THE EVENING, AND IT'S A QUESTION OF THE WITCHES AT THE BEGINNING OF MACBETH HAD TO BE TURNED ON IMMEDIATELY WHEN THEY MAKE THAT FIRST DESCENT FROM THE TOP OF THE FOREST AND THEY COME RUNNING DOWN TO THE STAGE.

♪ >> 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 OF THING.

YOU NEED TO BE WITH THE GROUP.

>> THE MET CHORUS IS ONE OF THE GREATEST CHORUSES IN THE WORLD, AND THEY'RE THE CHORUS I KIND OF GREW UP WITH.

NOT ONLY ARE THEY SUPPORTIVE EMOTIONALLY, THEY PICK-ME-UP SOMETIMES, HELP ME GET UP ON TABLES, HELP ME GET DOWN, HOLD MY HAND, YOU KNOW.

SO I FEEL REALLY COMFORTABLE WITH THEM AND GRATEFUL THAT THEY'RE 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 NITPICKING AS WE HAVE TIME FOR.

JUST RELEASE LONG NOTES.

I LOVE THE NITPICKING PART.

IT SHOULD BE A LOT OF FUN.

IT SHOULD BE NOISY.

IT SHOULD BE CHAOTIC AND 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 ISN'T.

IT'S ALL VERY CONTROLLED AND VERY STRUCTURED MUSICALLY.

I THINK IF YOU WERE COMING TO THE MET AND WANTED TO SEE WHAT THE CHORUS IS ABOUT YOU SHOULD COME TO BUTTERFLY -- MADAM 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 SOMEPLACE AND JUST HAPPENS, AND YOU SEE -- 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 E-MAIL AT NYC -- ARTS.ORG/E-MAIL.

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

NEXT WE'LL TAKE A TRIP TO THE BROOKTON MUSEUM TO THE REAL AND IMAGINED IN EUROPEAN ART.

THE EXHIBITION FOCUSES ON ARTWORK CREATED IN THE 19th AND 20th CENTURIES IN EUROPE.

& THIS WAS A PERIOD WHEN ARTISTIC TECHNIQUE, SUBJECT MATTER AND PATRONAGE UNDERWENT PROFOUND CHANGES.

FEATURING SOME 90 WORKS FROM THE MUSEUM'S COLLECTION IT INCLUDES ARTISTS SUCH AS -- THE SENIOR CURATOR OF EUROPEAN ART SHARES A HIGHLIGHT OF THE EXHIBITION.

♪ >> I'M LISA SMALL.

I'M THE SENIOR CURATOR OF EUROPEAN ART AT THE BROOKLYN MUSEUM AND A CURATOR OF THE REAL AND IMAGINED IN EUROPEAN ART.

THIS EXHIBITION BRINGS TOGETHER A REALLY IMPORTANT PART OF BROOKLYN'S EUROPEAN COLLECTION.

IT'S 19th AND EARLY 20th CENTURY EUROPEAN ART.

A GREAT PAIR IN THE EXHIBITION IN THE PERFORMING LABOR SECTION ARE TWO PAINTINGS, ONE BY GRATON AND ONE BY MILE AND THEY BOTH ARE DEPICTING PEOPLE WORKING IN THE FIELD, SORT OF RUSTIC LABOR.

AND WHAT'S REALLY FASCINATING LOOKING AT THESE WORKS IS THINKING ABOUT THE WAYS PEOPLE AT THE TIME TORMENTED THAT.

WHAT THEY THOUGHT WAS GOING ON IN THESE PAINTINGS AND HOW THEY'RE REALISTIC AND NOT REALISTIC THEY WERE PERCEIVED TO BE.

GRATON IS SHOWING THREE WOMEN RETURNING HOME FROM A LONG DAY.

THEY'RE KIND OF SOFTLY LIT BY BEAUTIFUL GLOWING TWILIGHT AND HE PRESENTS THEM IN A VERY, VERY CLASSICAL SORT OF WAY.

THEY LOOK LIKE ANCIENT SCULPTURES.

THEY'RE ALL BEAUTIFULLY MOVING THROUGH SPACE.

AND THE IDEA BEING THAT THEY'RE CONTENT WITH THEIR LOT IN LIFE.

THEY'RE WORKING FIELDS EVERY DAY.

IT'S A TIMELESS KIND OF IMAGE.

THE IDEA THAT THE FRENCH COUNTRYSIDE WAS ALWAYS THIS WAY, IT WILL ALWAYS BE THIS WAY AND THAT'S FINE.

MILE ALSO SHOWS A SHEPHERD IN THE FIELD AND THERE IS A SORT OF TIMELESS SENSE ABOUT IT AS WELL, BUT FOR A NUMBER OF REASONS MANY CRITICS AT THE TIME FELT THAT MILE WAS VERY, VERY HARSH IN HOW HE WAS DEPICTING THAT, SHOWING THEM HUNCHED OVER, LOOKING AS THOUGH THEY MIGHT ANY MINUTE START TO REVOLT, WHICH WAS A REAL ISSUE IN 19th CENTURY FRANCE.

THESE KINDS OF PAINTERS BECOME VERY POPULAR WITH COLLECTORS, IN FACT.

MANY OF THEM WERE INDUSTRIALISTS, MANY OF THEM LIVED AND WORKED IN URBAN ENVIRONMENTS FELT IT VERY REASSURING TO SEE THESE PICTURES OF PEOPLE DOING LABOR IN THE COUNTRYSIDE.

IT'S REALLY WONDERFUL INSIGHT INTO THE 19th CENTURY MIND-SET.

>> NEXT WEEK ON "NYC ARTS" WE LOOK AT THE LARGEST AND MOST SIGNIFICANT DRAWINGS AND PASTELS IN THE HISTORY OF THE FRICK COLLECTION.

AS A YOUNG COLLECTION HENRY CLAY FRICK WAS INTERESTED IN THE SCHOOL.

AND IN A DRAWING BY MILLET, ONE OF THE FOUNDING COLLECTIONS AND ALSO INCLUDES A SKETCH BY JOHN CONSTABLE AS A PREPARATION FOR THE LAST ARTIST SERIES OF LARGE PAINTINGS INCLUDING "THE WHITE HORSE" ALREADY IN THE FRICK COLLECTION.

THE TRIP TO THE AMERICAN FOLK ART MUSEUM AND THE EXHIBITION.

>> WE TALK ABOUT REDISCOVERY BECAUSE WE WANT TO BRING BACK IN THE CONTEXT OF HIS DISCOVERY IN THE '40s WITHIN A MODERNIST ENVIRONMENT WHERE HE WAS EXHIBITED ALONGSIDE SERIALISTS AND ARTISTS ALONGSIDE THE GUARD.

>> IN A PROFILE ONE OF TODAY'S MOST DYNAMIC TAP DANCERS AND EDUCATORS.

>> TAP DANCING FOR ME IS MAGIC.

IT'S MUSIC IN MOTION.

>> I HOPE YOU'VE ENJOYED OUR PROGRAM TONIGHT.

I'M PHILIPPE DE MONTEBELLO ON LOCATION AT FRICK MADISON, THE TEMPORARY HOME OF THE FRICK COLLECTION.

GOOD NIGHT AND SEE YOU NEXT TIME.

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

>> GOOD EVENING, AND WELCOME TO NYC ARTS.

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

>> I LOVE BEING WITH YOU HERE, TOO, PAULA.

>> WHERE ARE WE?

>> WER 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.

>> AND WHEN I LISTEN TO THE LYRICS IN THAT I SUDDENLY THOUGHT THAT'S WHAT I WANT TO DO WITH MY LIFE.

>> MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

>> MY PRIMARY WAY OF PLAYING THE PIANO WAS BY IMP RUVISING.

>> YOU ARE IN SOME RESPECTS ON SACRED GROUND.

>> A WOMAN CAME TO PERFORM AND SAID HOW WOULD YOU LIKE TO PLAYBILLY HOLIDAY?

>> I THINK ONE OF THE CENTRAL THINGS WE LEARNED IS MATISTE USED PINS TO MAKE HIS WORK.

>> THE CARDBOARD GUITARS THE VERY FIRST OF THAT REALIZATION.

>> SUDDENLY YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW?

♪ ♪ >>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER 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 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, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.