Andy Akiho and the Steelpan Drum
Composer Andy Akiho explains to host Scott Yoo why he loves the steelpan drum. Both then play his piece "Deciduous."
How Other Composers Changed Schumann's Work
Listen to host Scott Yoo, cellist Bion Tsang and producer Michael Fine discuss how other composers and musicians changed the works of Schumann.
Now Hear This "Schumann: Genius and Madness" Preview
Visit Scotland, Germany and France with host Scott Yoo as he investigates the connection between Robert Schumann’s bipolar disorder and creative genius via experts, musical performances and examining the work of other artists outside world of music.
Schumann's 78 Key Piano
Take a look at Schumann's 78-key piano, a new invention at the time, and then listen to Dr. Richard Kogan, violinist Scott Yoo and more perform Schumann's piano quintet.
Did Schumann Have Bipolar Disorder?
Host Scott Yoo and Dr. Richard Kogan discuss the possibility that Schumann may have had bipolar disorder, as well as the creativity of the composer.
A (Short) History of Tango in Buenos Aires
Learn about the history of tango in Buenos Aires, Argentina.
Now Hear This "Piazzolla's History with Tango" Preview
Tango to Buenos Aires, Argentina, with host Scott Yoo and flutist Alice Dade to explore the evolution of composer Astor Piazzolla’s work and the music genre itself as it becomes fused with jazz across time and numerous instruments.
Julio de Caro's Strange Violin
Watch host Scott Yoo play Julio de Caro's strange violin (a violín-corneta), and then watch a performance of de Caro's "Tierra Querida."
A Master Violinist Gets a Violin Lesson
Watch host Scott Yoo, a master at classical violin, take a lesson in playing tango.
"Libiamo, ne’ lieti calici" from La Traviata
Nadine Sierra, Stephen Costello and the Met Chorus perform the Act I drinking song, "Libiamo, ne’ lieti calici."
Great Performances at the Met: La Traviata Preview
Nadine Sierra stars as the opera’s heroine, the self-sacrificing courtesan Violetta, with tenor Stephen Costello in the role of her self-centered lover, Alfredo, with baritone Luca Salsi as Alfredo’s disapproving father. Michael Mayer’s vibrant production is conducted by Daniele Callegari. Renée Fleming hosts.
Kelli O'Hara & Joyce DiDonato sing "How is it possible?"
Laura Brown (Kelli O'Hara) and Virginia Woolf (Joyce DiDonato) perform "How is it possible?" from "The Hours."
Renée Fleming performs "Funny How Dreams Have a Way"
Clarissa Vaughan (Renée Fleming) performs "Funny How Dreams Have a Way" in "The Hours."
Renée Fleming, Kelli O’Hara, & Joyce DiDonato Perform a Trio
Clarissa Vaughan, Laura Brown, and Virginia Woolf (Renée Fleming, Kelli O’Hara, and Joyce DiDonato) perform the final trio from "The Hours."
Great Performances at the Met: The Hours Preview
Renée Fleming makes her return to the Met with Kelli O'Hara and Joyce DiDonato in this new opera from a Pulitzer Prize–winning composer inspired by Virginia Woolf’s “Mrs. Dalloway.”
Remembering Jan Karski
“Remembering Jan Karski," is a companion piece to the remarkable film, "Remember This." In a stunning one-man performance, actor David Strathairn portrays Karski, a Polish hero who tried to warn a disbelieving world about Nazi atrocities. Exploring Hate goes behind the scenes to interview the filmmakers and people who knew Karski and examines how his story continues to resonate today.
The Invasion of Poland
David Strathairn as Jan Karski reenacts the invasion of Poland and the story of how he became a prisoner of war.
The Legacy of Jan Karski
Explore the legacy of Jan Karski, who worked with the Polish Underground and risked his life to carry the first eyewitness reports of the Holocaust to the Western world, and ultimately, the Oval Office.
Behind the Scenes of "Remember This"
Listen to actor David Strathairn and the directors of "Remember This" explain how they adapted the play for the screen.
Remember This Preview
Experience Academy Award nominee David Strathairn as reluctant World War II hero and Holocaust witness, Jan Karski, in this one-man true story of moral courage and individual responsibility.
Supported by
