The collection comprises artworks by seminal figures such as Alberto Giacometti, Joan Miro, Jean Tinguely, Max Ernst, Andy Warhol, Alexander Calder, Le Corbusier, Sol LeWitt, Edgar Degas, Nicolas de Stael, Barbara Hepworth and Picasso.

The 35,600-square-foot Bechtler museum building was designed by the Swiss architect  Mario Botta.

2010 is the 75th edition of the Whitney Museum's signature survey of the latest in American art. Curated by Francesco Bonami and Gary Carrion-Murayari, this year's exhibition features 55 artists from across the country and includes well-established and emerging artists from all over the country, with works ranging from film and video to photography, paiting, sculpture, drawing, installation, performance, and architecture.

On the 5th floor of the Museum, the exhibition Collecting Biennals gathers works from the permanent collection by past biennal artists, looking at the way these previous exhibitions have formed the basis for the Whitney and the story it continues to tell about American art.

Cézanne and American Modernism brings together 16 of the French master's paintings and watercolors with more than 80 works by 33 American artists, including Marsden Hartley, Maurice Prendergast, Alfred Stieglitz, and Man Ray. Along with the BMA’s two great Cézanne paintings, Mont Sainte-Victoire Seen from the Bibémus Quarry and Bathers, the exhibition showcases outstanding works from public and private collections throughout the U.S., including The Metropolitan Museum of Art, Art Institute of Chicago, and Museum of Fine Arts, Boston.

Paul Cézanne (1839–1906) is universally acclaimed as the father of modern art for his revolutionary use of flattened perspective, carefully structured compositions, and his signature technique of painting with patches of color.

This exhibition is devoted to the extraordinary philosopher, statesman and teacher known as Confucius (551- 479 BCE ). Entitled Confucius: His Life and Legacy in Art focuses on the life, teachings and continuing influence of Confucius, who has become increasingly synonymous with Chinese culture.  Nearly 100 objects from the world of Confucius and his ennobled descendants are on view, including hanging scrolls, album leaves, bronze vessels, stone carvings, jade ceremonial implements, wood-block prints and textiles.  The works are on loan for the first time in the U.S. from the Shandong Provincial Museum in Jinan and the Confucius Museum in his hometown of Qufu. Confucius: His Life and Legacy in Art is the first exhibition in the U.S. to explore the culture of Confucius.  The show incorporates images and artifacts that were created to venerate the man himself, as well as the ideas associated with him, loosely called Confucianism.  A fully illustrated scholarly catalogue accompanies the exhibition.

Confucius was born into humble circumstances in 551 BCE in Qufu, capital of the feudal state of Lu, which now forms part of the province of Shandong.  Although he held a series of minor offices in his home state and for a brief period served as minister of justice (with the responsibilities of a prime minister), he eventually became frustrated with conditions in Lu.  In middle age, Confucius left home to travel among the contending feudal states of North China, searching for an ideal ruler who would govern with benevolence and according to proper ritual.  After 14 years, he returned to Lu and from the age of 65, devoted himself to teaching and scholarship.  After his death at age 73, his most devoted disciples observed three years of mourning for him, as if for a father.  Confucius’s own house became a memorial shrine, the precursor to the great Confucius Temple in Qufu today.

Pithy remarks attributed to Confucius have been transmitted from one generation to the next, and his advice still resonates today. “Study as if you will never learn, as if you were afraid of losing what you wish to learn,” the great teacher once said.  He believed in the moral purpose of humanity and in the individual’s duty to strive to improve: “The only ones who do not change are sages and idiots.”  Confucius’s practical approach to moral cultivation and his reflections on the personal and social basis of ethics and politics are exemplified in such sayings as “Do not inflict on others what you yourself would not wish done to you,”  “Anyone who does not know the value of words will never understand men,” and “The full life seeks what is in itself; the empty life seeks what appears in others.”  The humanity of his ideas and their ability to adapt to a great variety of needs and contexts have made Confucianism an enduring force in the cultural heritage of China and the world. 

The exhibition is curated by Lu Wensheng, Director, Shandong Provincial Museum, and Julia K. Murray, Professor of Art History and East Asian Studies, University of Wisconsin, under the directorship of Willow Hai Chang, Director, China Institute Gallery.

Detroit Experiences: Robert Frank Photographs, 1955 showcases more than 50 rare and many never-before-seen black-and-white photographs taken in Detroit by legendary artist Robert Frank.

According to Frank, 'The Americans' included “things that are there, anywhere, and everywhere…a town at night, a parking lot, the man who owns three cars and the man who owns none…the dream of grandeur, advertising, neon lights…gas tanks, post offices and backyards….” The exhibition includes nine Detroit images that were published in 'The Americans'. as well as, for the first time, an in-depth body of work representative of Frank’s Detroit, its working-class culture and automotive industry.

Frank was drawn to Detroit partly by a personal fascination with the automobile, but also saw its presence and effect on American culture as essential to his series. Frank was one of the few photographers allowed to take photographs at the famous Ford Motor Company River Rouge factory, where he was amazed to witness the transformation of raw materials into fully assembled cars. In a letter to his wife he wrote, “Ford is an absolutely fantastic place…this one is God’s factory and if there is such a thing – I am sure that the devil gave him a helping hand to build what is called Ford’s River Rouge Plant.” Frank spent two days taking pictures at the Ford factory, photographing workers on the assembly lines and manning machines by day, and following them as they ventured into the city at night.

In 1900, Edward S. Curtis (1868 – 1952) undertook the momentous task of documenting American Indian cultures across the United States. Over the next thirty years, he took over 40,000 photographs and collected information about more than eighty tribes, ranging from the Inuit people of the far north to the Hopi people of the Southwest. Curtis assembled this material into twenty lavishly illustrated text volumes, each accompanied by a folio of approximately thirty-eight printed, hand-pulled photogravures

Luc Tuymans features approximately 75 key paintings from 1978 to the present and reunites works from important series as initially set out by the artist. Luc Tuymans (born 1958) is considered by many to be one of the most significant painters working today, and his distinctive visual style and approach to issues of history and memory have influenced an entire generation of younger artists. Interested in the aftereffects of some of the most traumatic events of the last and present century and their representation in the mass media, Tuymans uses a muted palette to create paintings.

Born and raised in Antwerp, where he continues to live and work, Tuymans draws on the historical traditions of Northern European painting as well as photography, cinema, and television. He appropriates images from a variety of sources and makes use of cropping, close-ups, framing, and sequencing to offer fresh perspectives on the medium of painting as well as larger cultural issues.

Perhaps best-known for his early work on the Holocaust, the artist has turned more recently to such topics as the postcolonial history of the Democratic Republic of the Congo, the dramatic turn of world events after 9/11, and the role of institutional religion in an increasingly secular world.

Michelangelo: Anatomy as Architecture consists of drawings, archival pages, and engravings on loan from the finest collection of Michelangelo drawings, the Casa Buonarroti in Florence, Italy. Combined with Old Master drawings from the collection of the Museum, the exhibition depicts and illustrates Michelangelo’s concept and philosophy that architecture was anatomical in a way that has never been done before.  The exhibition explores new research in Michelangelo architectural studies, includes digital reconstructions of buildings never before believed to be influenced by Michelangelo, and lectures by world-renowned scholars on Michelangelo. 

Michelangelo Buonarroti (1475—1564) had a vision of architecture that was rooted in the understanding of the human body, and his theory of anatomy was articulated in the study and design of architecture.  While most Renaissance architects treated the human body as analogy, Michelangelo, a supreme master of the human form, took the comparison further.  He viewed anatomy—muscles, nerves, and human proportions—as metaphors for the active elements of architecture.

Muscarelle Museum
College of William and Mary
Williamsburg, Virginia 23187-8795
United States

A panel of lectures on the work of leading Italian Mannerist Agnolo Bronzino (1503–1572), by James Fenton, Elizabeth Cropper, Lucia Meoni, Deborah Parker, and Louis A.Waldman.

At left: Drawn from life, though inspired by a small Roman bronze, the Idolino (Museo Archeologico, Florence), this magnificent study is among the best published of Bronzino's drawings. The technique of subtle parallel hatching and cross-hatching, selectively blended for a soft sfumato effect on paper prepared with color, seems to emulate the surface of metal sculpture. The drawing was preparatory for the youth in the left foreground of The Crossing of the Red Sea and Moses Appointing Joshua, the lunette fresco on the south wall of the Chapel of Eleonora di Toledo, which was the first of the walls to be painted. It is precisely datable, given that the inscription scratched on the marble door frame by the Brazen Serpent fresco in the chapel states: "On Tuesday on the 6th day of September [1541], the story of the pharaoh was begun; on the 30th day of March 1542, the story of pharaoh was finished."

During the Spanish Counter-Reformation, religious patrons, particularly the Dominican, Carthusian and Franciscan orders, challenged painters and sculptors to bring the sacred to life, to inspire both Christian devotion and the emulation of the saints. The exhibition brings together some of the finest depictions of key Christian themes including the Passion of Christ, the Immaculate Conception and the portrayal of saints, notably Pedro de Mena’s austere rendition of Saint Francis Standing in Meditation, 1663, which has never before left the sacristy of Toledo Cathedral.

By installing 16 polychrome (painted) sculptures and 16 paintings side-by-side, the exhibition aims to show that the ‘hyperrealistic’ approach of painters such as Diego Velázquez and Francisco de Zurbarán was clearly informed by their familiarity – and in some cases direct involvement – with sculpture.

In Seville, Francisco Pacheco taught Velázquez, later his son-in-law, and a generation of artists the skill of painting sculpture as an integral element of their training. Pacheco himself painted the flesh tones and drapery of exquisite wooden sculptures carved by fellow Andalucian, Montañés, known by his contemporaries as ‘the god of wood’. Among the most important examples is their life-size Saint Francis Borgia Meditating on a Skull' 1624 (Church of the Anunciación, Seville University) commissioned by the Jesuits to celebrate his beatification that year. Another highlight of the exhibition is the fascinating juxtaposition of Velázquez’s The Immaculate Conception, 1618–19 (National Gallery, London) with Montañés’s exquisite polychrome sculpture of the same subject, about 1620 (Seville University).

To obtain even greater realism, some sculptors such as Pedro de Mena and Gregorio Fernández introduced glass eyes and tears as well as ivory teeth into their sculptures. Fernández’s astonishingly realistic Dead Christ, 1625–30 (Museo Nacional del Prado, Madrid; on long term loan to the Museo Nacional Colegio de San Gregorio, Valladolid) incorporates the bark of a cork tree to simulate the effect of coagulated blood, and bull’s horn for Christ’s fingernails. It was fully intended that believers should feel truly in the presence of the dead Christ.

During 'Semana Santa' (‘Holy Week’), some 17th-century polychrome sculptures are still carried through the streets by religious confraternities, particularly in Seville, Granada and Valladolid, the most important centres of this art. During the evening of Palm Sunday, Seville’s Archicofradía del Cristo del Amor (‘Confraternity of the Christ of Love’) process a life-size sculpture of the Crucifixion by Juan de Mesa. The exhibition features a smaller version of this work, about 1621, which although non-processional, plays a vital role in the pastoral life of the confraternity.

While sometimes deeply unsettling, depictions of Christ’s suffering or indeed Juan de Mesa’s Decapitated Head of Saint John the Baptist, about 1620 (Seville Cathedral) are also exquisitely finished. When depicting the saints, sculptors and polychromers combined their skills to achieve maximum facial expressiveness. Alonso Cano’s life-size head of Saint John of God, 1655 (Museo de Bellas Artes, Granada), which has never left Spain before, depicts with astonishing sensitivity the compassionate expression of Granada’s patron saint.

Zurbarán’s heightened illusionism, in particular his handling of fabric, shows an acute understanding and appreciation of sculpture. Saint Serapion, 1628 (Wadsworth Atheneum Museum of Art, Hartford, CT), is among the artist’s greatest achievements. The saint’s voluminous white habit cascades with astonishingly rendered crevasses of deep shadow. Here, Zurbarán demonstrates that painting can indeed achieve the same disconcerting realism as sculpture.

The Secrets of Tomb 10A: Egypt 2000 BC showcases funerary objects discovered in Deir el-Bersha, a necropolis in central Egypt, by the joint Harvard University-Museum of Fine Arts Expedition in 1915. It includes the famous painted "Bersha coffin," the mummified head of one of the tomb’s two occupants, and hundreds of items deemed necessary for a comfortable afterlife in ancient Egypt. This find represents the largest Middle Kingdom burial assemblage ever discovered and sheds light on the grand lifestyle enjoyed by local governor and priest Djehutynakht and his wife, Lady Djehutynakht. The conservation and reconstruction of many of the items—damaged by grave robbers in antiquity—have taken almost a century to complete. For the first time since they were placed in the tomb, the assemblage will be displayed in its entirety.

The Secrets of Tomb 10A examines the mysteries surrounding the Djehutynakhts: their lifestyle, the fate of their possessions after they were buried, and whether the mummified head is male or female. It also offers an engaging introduction to evolving funerary practices in Egypt from the 11th through 13th dynasties and provides insights into daily life of the high officials of the time. Featured are more than 250 objects, many of which have never before been on view. These include four painted coffins, cult objects, vessels for food and drink, furniture, jewelry, walking sticks, and sealed beer jars (one of which will be opened and examined), as well as the largest known collection of wooden models from the Middle Kingdom representing—in miniature form—a range of activities and items that would have been found on the couple’s estate.

The exhibition includes 50 major artifacts excavated from the tomb of King Tut, including his royal diadem (the gold crown discovered on his head), as well as one of the gold and precious stone inlaid coffinettes that contained his mummified internal organs. More than 70 objects from other royal graves of the 18th Dynasty (1555 B.C.-1305 B.C.) are on view as well.

A further highlight is the loaned collection of pieces from the intact tomb of Yuya and Tuyu, the parents-in-law of Amenophis III. This tomb was discovered some 20 years before that of Tutankhamun, and had until then been the most celebrated find in the Valley of the Kings.

The objects are accompanied by photos of Howard Carter taken in 1922 to illustrate the condition of the tomb during the first opening.

Exploring a cross section of art made during a period marked with revolution and socio-political tumult, this exhibition also embraces five interventions by a current generation of artists whose work reflects the concerns of 1969 and brings the exhibition into the present. This exhibition includes examples of painting, sculpture, photography, print, illustrated books, design, drawing, media, and film as well as a wealth of documents drawn from MoMA's archives. 

Diverse artistic practices, concerns, and themes are presented ranging from the minimalist sculpture of Sol LeWitt and Carl Andre, abstract painting and drawing of Helen Frankenthaler and Gego, to films by Walter de Maria and Michael Snow, and politically charged works of the Art Workers Coalition and Martha Rosler.

Wind/Rewind/Weave investigates the global crisis of production and skill based textile labor through three major works: Wind-Up: Walking the Warp, a unique installation titled 'Local Industry,' and the first exhibition of Rewinds, a large sculpture in glass.

As the project 'Local Industry,' Anne Wilson has transformed one museum gallery into an active factory site, using it as a productive space where museum visitors work together through the production of a bolt of cloth.

Anne Wilson is a Chicago based visual artist who creates sculpture, drawings, video animations and installations that explore themes of time, loss, private and social rituals.

Huichol Art and Culture: Balancing the World focuses on the Huichol, a Native American people of western Mexico who for many centuries have retained their unique culture and prehispanic religious beliefs. Their remote location in the rugged Sierra Madre Occidental mountains primarily in the states of Jalisco and Nayarit has allowed for greater resistance than any other indigenous group to the forces of Christianization and acculturation. The Huichol people today continue to create traditional art and practice ancient rituals that predate the time of Spanish contact.

From 1934-1935, Dr. Robert Mowry Zingg (1900-1957) was the first American anthropologist to conduct extended ethnographic fieldwork among the Huichol in the community of Tuxpan de Bolaños. Zingg lived with Huichol families and participated in everyday life, while studying their mythology and ceremonialism. Huichol Art and Culture: Balancing the World presents the collection of Huichol artifacts which Zingg collected on behalf of the Laboratory of Anthropology during the earliest years of its history as an institution.

In the past and today, Huichol art is made to communicate with a pantheon of ancestors and gods. When Zingg arrived in Tuxpan, he found that most Huichol adults were occupied with making art. As he observed, the Huichol constantly create offerings which serve as visual prayers to the gods. As part of the ceremonial cycle, the Huichol make pilgrimages to leave offerings at sacred sites.

At left: This votive gourd bowl is an early example of the technique used in Huichol yarn painting. The interior is decorated with wool yarn pressed into beeswax. Gourd bowls are prayers for health, success, or bountiful crops. The 1803 silver coin in the center of this bowl is a request for prosperity. Tuxpan de Bolaños, ca. 1934. 20.0 x 7.0 cm. Robert M. Zingg collection, Museum of Indian Arts and Culture/ Laboratory of Anthropology

Shot in three Tokyo parks during the early seventies, The Park is a series of black and white photographs capturing couples meeting up for clandestine trysts and, more provocatively, the voyeurs who came out to watch them. First exhibited in 1979 at Komai Gallery in Tokyo, the uproar surrounding his methods caused these photographs to be hidden from the public for the next 28 years.

Mr. Yoshiyuki first stumbled upon this hidden world while photographing skyscrapers in front of Chuo Park in Shinjuku at night when he witnessed a couple having sex and quickly discovered an entire scene of young lovers—and their peepers. He soon returned with an inconspicuous 35mm camera, a filtered flash and infrared film, and began shooting these hetero- and homosexual couplings, along with their spectators lurking in the bushes.

What is particularly striking about this series of photographs is not the graphic nature of the sexual acts portrayed, which are usually obscured by other figures or occur out of frame, but the densely packed tableaux of voyeurs who crowd in on the couples and sometimes attempt to join in.

The exhibition also includes photographs from Yoshiyuki’s 1978 companion project, Love Hotel, a group of video stills pulled from unerased videotapes made by clients of one of Japan’s infamous rooms-by-the-hour hotels. The resulting pictures are grainy abstractions of faceless, nameless people caught, mid-act, in lovemaking.

Kohei Yoshiyuki was born in 1946 in Japan, where he currently lives and works. Photographs from The Park series have been acquired by the Brooklyn Museum, Museum of Contemporary Photography (Chicago), Museum of Fine Arts (Houston), Museum of Modern Art (New York), North Carolina Museum of Art (Raleigh) and the San Francisco Museum of Modern Art.

This exhibition includes a selection of around one hundred and fifty works by Xie Zhiliu (pronounced "shay jer-leo"), one of modern China's leading traditional artists and a preeminent connoisseur of painting and calligraphy.

Xie Zhiliu received a traditional Chinese artistic education, which combined the two disciplines of copying the work of earlier masters and drawing directly from life.

Xie Zhiliu was a native of Changzhou, a city with a strong tradition of bird-and-flower painting, a genre in which Xie excelled. Moving to Chongqing to escape the Japanese occupation in 1937, he became a close friend of a renowned painter Zhang Daqian (1899–1983), who introduced him to the Buddhist cave murals of the Silk Road oasis of Dunhuang. After the war, he became an advisor and preeminent connoisseur on painting and calligraphy for the Shanghai Museum as well as a professor of painting. Thanks to his access to the rich holdings of the museum, Xie expanded his style through the study of Tang, Song, and Yuan dynasty painting, a topic on which he published. Between 1983 and 1990 he led a team of scholars in evaluating the collections of China’s leading cultural institutions, which resulted in a twenty-four-volume illustrated index of more than seventy thousand paintings and calligraphies.

Each of the artists in One on One engages the life of one person. The goal of each examination is different, as are the means and the findings. But in each case, the artists use their subjects as mirrors, not only for themselves, but also for the viewer.

Terry Allen creates works in a wide variety of media including music, painting, sculpture, drawing, video, theater, and installation. SITE will present Terry Allen's latest work GHOST SHIP RODEZ, a multi-dimensional, multimedia exhibition inspired by an episode in the life of the great French theater visionary, poet, and artist Antonin Artaud (1896-1948).Taking its title from the French mental institution "Rodez," where Artaud spent a number of years, this exhibition will consist of drawings and multimedia works blending sculpture and video. Allen invites us to take a journey into the depths of Artaud's mind as he sees it — a place where the boundaries of time and space are broken, where the past and future come together in the present.

In 2002 Hasan Elahi was falsely accused by a misinformed neighbor of involvement in the 9/11 terrorists plots, and was subsequently subjected to a sixth month long investigation by the FBI. Provoked by this ordeal, Elahi initiated Tracking Transience: The Orwell Project a web-based project that provides his location in real-time and archives the traces of his life, such as photographs of every meal he has eaten and his bank transaction records. Elahi's obsessive use of technology to track himself is "an exaggerated version of the life we live now," where photographic and electronic surveillance have become the norm. SITE will exhibit the most complete presentation of Tracking Transience to date with a multimedia installation streaming material drawn from an extensive database representing Elahi's activities over the last eight years.

The husband and wife team McCallum & Tarry create works that investigate issues of social justice. Their practice includes a variety of media including painting, photography, video, sculpture, and public interventions. By focusing on the voices of individuals, McCallum & Tarry create works that highlight the personal dimension of issues such as civil rights, homelessness, and war. In a significant number of their works, McCallum & Tarry have used themselves as their subjects. SITE  presents three of their most intimate and poetic video-based works: Topsy-Turvy (2006), Cut (2006), and Exchange (2007). These works explore the complex legacy of race and the way it figures into contemporary relations, particularly rooted in their own experiences as an interracialcouple.

Kaari Upson's The Larry Project, is a multi-disciplinary investigation into the life of a man she has never met. Initially based on the life of a real person, Larry has become more fiction than fact, and Upson's relentless investigation of the minutia of his life offers extraordinary insight into the mind of the artist herself. Through an archival method, Upson has given Larry a multifaceted life while simultaneously assimilating her life with his. Upson conceived of the project in three chapters, representing different levels of psychological engagement. Selected works from each of these chapters include drawings, paintings, video, and sculpture.

Arts World Financial Center screens Sounds from the Black Box, South African artist Willima Kentridge’s most recent animation work and the latest in his long series of collaborations with South African composer Philip Miller.

A follow-up to and expansion of Kentridge and Miller's 9 Drawings for Projection project, Sounds from the Black Box combines the artist's  animations with scores by Miller, which is performed live by the New York City-based Ensemble Pi.

The screenings coincide with a major Kentridge exhibition at the Museum of Modern Art (Feb 24–March 17) and a Kentridge-directed-and-designed production of Shostakovich’s The Nose at the Metropolitan Opera (March 5–25).

Based in Johannesburg , South Africa , William Kentridge began his "Drawings for Projections" series in 1989, introducing what would become his trademark technique of animating sequences of charcoal drawings that are rubbed out and sketched over on one piece of paper. He has since established himself as one of South Africa 's top artists, and his work has been exhibited in major institutions throughout the world.

Philip Miller is a South African composer and music producer who creates music and sound for television, video, live performance, and film, including director Philip Noyce's 2006 feature film "Catch a Fire." Ensemble Pi is a socially conscious new music group dedicated to performing the works of living and undiscovered composers.

Entitled Tseng Kwong Chi: Body Painting with Bill T. Jones and  Keith Haring, this is an exhibition of photographs taken by the American artist Tseng Kwong Chi in 1983 in collaboration with the choreographer Bill T. Jones and the artist Keith Haring.

Shown in commemoration of the 20th anniversary of Tseng's and Haring's deaths, these large-format photographs document the spirit of interconnected creativity that pulsed throughout the East Village in the 1980's.

Tseng Kwong Chi (1950-1990) was born in Hong Kong and immigrated with his family to Vancouver, Canada as a teenager. He studied art in Paris before moving to New York in 1978. His work is included in numerous public collections, including the Solomon R. Guggenheim Museum in New York, the Walker Museum of Art in Minneapolis, and the San Francisco Museum of Modern Art. In 2010, his photographs will be included in Hide/Seek: Difference and Desire in American Portraiture at the National Portrait Gallery in Washington D.C. and in Dreamlands at the Centre Pompidou in Paris, France.

Catherine Opie (American, born 1961) created inkjet prints from scans of 7x17-inch negatives of the mini-malls that characterize Los Angeles's automobile culture.

Jeff Chien-Hsing Liao (Taiwanese, born 1977) digitally combined color film negatives into seamless inkjet prints for his Habitat 7 project, which traces the route of the New York subway from Queens to Manhattan. By layering hand-cut chromogenic prints made in Reykjavik, the capital of Iceland, during the summer solstice, Soo Kim (American, born South Korea, 1969) achieved the three-dimensional effect of a semitransparent city.

The Getty Center
1200 Getty Center Drive
Los Angeles, California 90049

Rachmaninov: The Isle of the Dead
Stravinsky: Concerto for Piano and Wind Instruments
Prokofiev: Symphony No. 4

Chicago Symphony Orchestra
Vladimir Jurowski, conductor
Peter Serkin, piano

Stravinsky: Danses concertantes     
Mozart: Violin Concerto No. 2     
Stravinsky: Violin Concerto  Details Listen
Mozart: Symphony No. 36 in C, K. 425 ("Linz") 

Saint Louis Symphony
David Robertson, conductor
Gil Shaham, violin 

Verdi, Dvorak, Mascagni, Tchaikovsky, Leoncovallo

Sondra Radvanovsky, soprano
Dmitri Hvorostovsky, baritone
National Philharmonic
Marco Armiliato, conductor

Schubert: Sonata in A Minor (Arpeggione)
Shostakovich: Sonata in D Minor
Piazzolla: Le Grand Tango
Gismonti and Carneiro: Bodas de Prata and Quatro Cantos
Franck: Sonata in A Major

Yo-Yo Ma, cello
Kathryn Stott, piano

Beethoven Piano Sonatas:

Sonata in E Major, Opus 14, No. 1
Sonata in G Major, Opus 14, No. 2
Sonata in C Minor, Opus 13, “Pathétique”
Sonata in B flat Major, Opus 22
Sonata in E flat Major, Opus 81a, “Les adieux”

Till Fellner, piano

Ben Webster & Lester Young Centennial Concert featuring Jimmy Heath, Joe Lovano, Harry Allen, Jeb Patton, David Wong, Winard Harper.

Jimmy Heath has long been recognized as a brilliant instrumentalist,  composer and arranger.  Jimmy is the middle brother of the legendary Heath Brothers (Percy Heath/bass and Tootie Heath/drums), and is the father of Mtume.   He has performed with nearly all the jazz greats of the last 50 years, from Howard McGhee, Dizzy Gillespie, and Miles Davis to Wynton Marsalis.
http://www.jimmyheath.com/

Joe Lovano is one of the most accomplished saxophonists in all of jazz. This Grammy nominated artist has recorded over twenty albums for the Blue Note label. 
http://www.joelovano.com/

Saxophonist Harry Allen has over thirty recordings to his name. Three of Harry's CDs have won Gold Disc Awards from Japan's Swing Journal Magazine, and his CD Tenors Anyone? won both the Gold Disc Award and the New Star Award.
http://www.harryallenjazz.com/

One of the most important figures to emerge from Afro-Cuban jazz in the '90s, Gonzalo Rubalcaba is an extraordinarily versatile pianist able to blend disparate strands of Cuban and American jazz tradition into a fresh, modern whole. Rubalcaba demonstrates why Cuban music has become so popular around the world.

Grammy-winning Cuban jazz pianist jazz pianist Gonzalo Rubalcaba. Band members joining Mr. Rubalcaba are Yosvany Terry (reeds), Michael Rodriguez (trumpet), Matt Brewer (bass) and Marcus Gilmore (drums).

The first annual HSBC Jazz Festival features Spyro Gyra, Jonathan Butler, Al Jarreau, Christian Scott, Patti Austin, Tuck and Patti.

Jonathan Butler has led a life few could imagine. Born under the shadow of South African apartheid and raised in poverty, Butler while still in his teens, became the first non-white artist to be played on white mainstream radio and appear on national South African television. Nelson Mandela credits Butler's music as having inspired him during his long days of imprisonment. He has three decades of international acclaim and has topped the Billboard charts with Contemporary Jazz, R&B, and Gospel albums.

Twenty six year old, New Orleans native, Christian Scott is a GRAMMY nominated jazz trumpeter, composer and producer.

Native New Yorker Patti Austin made her professional debut at the Apollo Theater when she was 5 years old. Quincy Jones and Dinah Washington have proclaimed themselves her Godparents. She's had over twenty songs on the Billboard charts. She has sung duets with George Benson, Michael Jackson, Luther Vandross. In 2008, fifty-three years after getting her first record contract, Patti Austin was awarded her first Grammy, winning Best Jazz Vocal Album for Avant Gershwin at the 50th annual Grammy Awards. The award came for her ninth nomination in that category.

March 25, 2010   8:00pm (Spyro Gyra and Jonathan Butler)

March 27, 2010    8:00pm (Al Jarreau with Christian Scott)

March 28, 2010    7:30pm (Patti Austin with Tuck & Patti)

Verdi: Attila
Librettist: Temistocle Solera
Sung in Italian with Met Titles in English, German and Spanish

Riccardo Muti, conductor

Cast: 
Odabella: Violeta Urmana
Foresto: Ramón Vargas
Ezio: Carlos Alvarez
Attila: Ildar Abdrazakov

Production: Pierre Audi
Set and Costume Designers: Miuccia Prada, Herzog and de Meuron
Lighting Designer: Jean Kalman

Maria Callas: A Woman, a Voice, a Myth, an impressive collection of Maria Callas’ historic stage costumes, jewels, rare documents, books and letters gathered over many years by Bruno Tosi, President of the Associazione Maria Callas, as well as photographs lent by the Hellenic Parliament Foundation for Parliamentarism and Democracy, are on view at the Istituto Italiano di Cultura in an installation created by Barton Myers Associates and Sussman/Prejza & Co. The show also includes a special screening of the documentary BIOGRAPHY®: Maria Callas courtesy of the BIO. channel. Part of the exhibition will then travel to Venice, Italy to be installed in the soon to be inaugurated Maria Callas Museum at Scuola del Cristo, San Marcuola-Cannaregio.

The show opens concurrently with the book release of The heart of The Young Maria Callas, a previously unpublished diary, full of her dreams as a young woman and complimented by the reminisces of friends who knew her well through her triumphs and struggles.

James Conlon, LA Opera’s Richard Seaver Music Director, will give a special lecture (by invitation only): Maria Callas and Richard Wagner: A Surprising Couple, on 15 March 2010. Bruno Tosi comments, “As incredible as it may seem, Maria Callas owes everything to Richard Wagner, dating back to a dark period of her extraordinary career. She attained critical success at 25 with her great performance as Isolde from Tristan and Isolde at La Fenice Theater in Venice on December 30, 1947.” Following the lecture, Mr. Conlon will receive the Istituto Italiano di Cultura Lifetime Achievement Award for his outstanding lifelong activity and dedication to the arts. Conlon says, “Maria Callas was already one of the heroines of my youth when I had the great fortune to meet her in the final year of my studies at the Juilliard School. Having watched me rehearse a production of La Bohème, she recommended to the president that I replace the conductor who had withdrawn. Her intervention at a critical moment brought about the break, which in essence initiated my professional life. Her impact on my life, both artistic and personal, has been immense.”

Mozart: The Marriage of Figaro
Sung in Italian with English transaltions

Sir Andrew Davis, conductor (28 February 28; 3, 6, 9, 12, 18, 20 March)
Leonardo Vordoni, conductor (15, 22, 24, 27 March) 

Cast:

Figaro: Kyle Ketelsen
Susanna: Danielle de Niese
Countess: Anne Schwanewilms
Count: Mariusz Kwiecien
Cherubino: Joyce DiDonato
Marcellina: Lauren Curnow
Bartolo: Andrea Silvestrelli
Basilio: Keith Jameson
Antonio: Philip Kraus
Barbarina: Angela Mannino
Curzio: David Portillo

Sir Andrew Davis, conductor (28 February 28; 3, 6, 9, 12, 18, 20 March)
Leonardo Vordoni, conductor (15, 22, 24, 27 March) 
 
Original Production: Sir Peter Hall
 
Stage Director: Herbert Kellner 
Designer: John Bury 
Lighting Designer: Duane Schuler 
Chorus Master: Donald Nally 
Choreographer: Kenneth von Heidecke

The Georgia Aquarium opened in downtown Atlanta, Georgia on 23 November 2005, as the world’s largest aquarium. With more than 8 million gallons of marine and fresh water, and more than 100,000 animals of 500 different species, the Georgia Aquarium is a gift to the people of Georgia from Bernie Marcus, co-founder of The Home Depot, and his wife Billi, through the Marcus Foundation. The $200 million building, designed to look like a ship breaking through a wave. The facility hosts five viewing galleries along with a 4-D movie theater.

Wolfgang Puck Catering operates exclusive special event catering services at the Aquarium.  Chef Puck and his staff serve seafood at the Aquarium and participate in the Seafood Watch Program, pioneered by the Monterey Bay Aquarium to raise consumer awareness about the importance of buying seafood from sustainable sources.

Michael Longoria 
Christian Hoff - Tony Award Winner
Sebastian Arcelus
J Robert Spencer

Book by Marshall Brickman and Rick Elice
Music and Lyrics by Bob Gaudio and Bob Crewe
Directed by Des McAnuff
Choreography by Sergio Trujillo

This new center documents Muhammad Ali's odyssey from then-segregated Louisville, Kentucky and his youth as Cassius Clay, to a Gold Medal at the 1960 Olympic Games in Rome to his conversion from Christianity to Islam and to the pinnacle of the boxing world.

Through five floors and 93,000 square feet, the Muhammad Ali Center in Louisville (which opened in November  2005) is no typical sports museum; it is equal parts elegance (the prominent atrium display of his Presidential Medal of Freedom) and kitsch (the equally prominent display of the bejeweled robe,a gift from Elvis Presley before a fight in Las Vegas.) It is pluck - his youthful boasting of how pretty he was - and pathos- his Parkinsons' wracked body painstakingly lighting the torchat the 1996 Olympic Games in Atlanta. It is crass commercialization - his 1977 Rolls Royce Corniche - and the best of the human spirit- a collage by children from 141 countries in which they express their hopes and dreams.

The National World War I Museum at Liberty Memorial in Kansas City, Mo., opened to the public on 2 December 2006 as the first American, and only national, museum dedicated to preserving the artifacts, history, and experiences of what was deemed “the war to end all wars.” Designed by Ralph Appelbaum, the National WWI Museum houses a collection of more than 49,000 artifacts.

The 30,000-square-foot core exhibit is built directly beneath the existing Liberty Memorial. Beginning with a surreal walk across a glass-floored bridge, beneath which lie 9,000 poppies, each representing 1,000 fallen military fatalities, visitors pass into an vast interactive museum that seeks to tell the story of the war through the experiences of those who lived it.

Now in its first Broadway revival, South Pacific features  Kelli O'Hara (The Light in the Piazza) and baritone Paulo Szot in the leading roles with direction by Bartlett Sher (The Light in the Piazza and Awake and Sing).

Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Author, Tales of the South Pacific
James Michener

Cast:

Kelli O'Hara , Paulo Szot
Matthew Morrison , Danny Burstein , Loretta Ables Sayre , Sean Cullen , Victor Hawks , Luka Kain , Li Jun Li , Laurissa Romain , Skipp Sudduth , Noah Weisberg, Becca Ayers , Wendi Bergamini , Genson Blimline , Grady McLeod Bowman , Charlie Brady , Matt Caplan , Christian Carter , Helmar Augustus Cooper , Jeremy Davis , Margot De La Barre , Christian Delcroix , Laura Marie Duncan , Mike Evariste , Laura Griffith , Lisa Howard , Maryann Hu , Zachary James , Robert Lenzi , Garrett Long , Nick Mayo , George Merrick , William Michals , Kimber Monroe , Emily Morales , Darius Nichols , George Psomas , Andrew Samonsky , Jerold E. Solomon

Sylvan Heights Waterfowl Center operates the world's largest collection of waterfowl, including many rare and endangered species. The 8 acre avian breeding preserve in Scotland Neck, North Carolina is now home to over 170 species of birds-- more than half of the world’s known species of ducks, geese and swans--along with cranes, pheasants, parrots and many other birds.

Sylvan Heights has now embarked on a new and exciting mission--providing conservation-oriented programs and avian exhibits to the public. Building on an adjacent 18-acre property owned by the North Carolina Zoological Society, the new Waterfowl Park & Eco-Center has been open to the public since October 7, 2006.

Scotland Neck is only a few miles from the Roanoke River, an environmentally protected waterway that attracts many thousands of migrating ducks, geese and swans to the North Carolina coastal plain.  The cypress-tupelo swamp forests and wetlands surrounding Scotland Neck are a wintering home for many bird species, and provide opportunities for waterfowl, raptor and songbird observation. In fact, this area was named one of the top 500 most important bird areas by the American Bird Conservancy Guide.

Terence Rattigan's 1948 masterpiece about a schoolmaster who must give up his 18 year post at an English public school brilliantly explores the complexity of the human heart. It predates Albee's Who's Afraid of Virginia Woolf in its scathing examination of a marriage. A contemporary of Noel Coward and Somerset Maugham, Rattigan's wit and depth remain timeless.

Cast:
Michael Balsley, Orson Bean, Caitlin Beitel, Bruce French, Justin Preston, Michael Redfield, Sally Smythe

Marilyn Fox, director

Set Design Scott Viman
Costume Design Audrey Eisner
Light Design William Wilday
Sound Design Chris Moscatiello

Alicia Keyes: The Element of Freedom

Douglas Carter Beane: Mr. & Mrs. Fitch
Scott Ellis, director

According to the press release: Meet gossip columnists Mr. & Mrs. Fitch. When the social circuit no longer provides any scandalous news, they find that great celebrity can appear out of thin air. Tony Award nominee Douglas Carter Beane's wicked new comedy is a scathing look at who is in, who is out and who may not even exist at all.

Cast
John Lithgow, Jennifer Ehle

Previews begin 26 January 2010. Opening night 22 February 2010

Donald Margulies: Time Stands Still 
Daniel Sullivan, director

Cast:
Laura Linney, Alicia Silverstone, Eric Bogosian, Brian d'Arcy 

From the Geffen Playhouse press release for the world premiere:

"Time Stands Still focuses around a longtime couple and journalistic team – she a photographer, he a reporter – who return to New York from an extended stint in the war-torn Middle East. Sarah is a headstrong visionary who must negotiate re-entry into a domestic realm she no longer recognizes; James, a foreign correspondent whose chaotic profession threatens his personal life. Complicating Sarah and James’ readjustment to domestic life is the appearance of Sarah’s one-time mentor and editor Richard and his new, much younger, and 'very hot' girlfriend, Mandy"