Word: metropolitan
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Dates: during 1950-1959
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...critics as well, was dubbed "the snail," an "indigestible hot cross bun," a "wash ing machine." Robert Moses, New York City Parks Commissioner and Metropoli tan Museum ex officio trustee, decided that it looked like "an inverted oatmeal dish." Wright fired back: "It's going to make the Metropolitan Museum look like a Protestant barn." Twenty-one artists signed a round-robin protest charging that Wright's scheme for hanging would throw their canvases askew and the sloping ramp (3%) would provide no level base board for reference. Wright replied that the old rectilinear frame of reference...
...year ago short, lank-haired Manabu Mabe was a familiar but furtive peddler on the streets of Brazil's metropolitan (pop. 3,650,000) Sao Paulo. His wares: his own hand-painted ties, priced from 85^ to $1.15. "It was embarrassing and illegal," Mabe confesses. "I had no peddler's license, but they sold fast." Only at night did Manabu Mabe indulge his private obsession, squandering his money on oil and canvases, sitting up, often until dawn, to paint large, calligraphic abstractions. Suddenly this year the whirlwind of artistic success sucked 35-year-old Manabu Mabe into...
...unprecedented six shows in the Met's opening week reflects Bing's desire to lengthen the Metropolitan's season without conflicting with the commitments of Met singers to other opera companies, especially the San Francisco Opera and the European spring festivals. Though there is much to be said for the extension of a Metropolitan season, (It would offer more performances to opera lovers and steadier employment to performers.) the appearance of six operas in one week presents enormous problems...
Figaro and Trovatore are both handsome and, in some respects, truly exciting renovations of what had been two of the worst "war heroes" in the Metropolitan repertoire...
Messel was well worth the lengthy dickering. His Figaro contains some of the most elegant, beautiful sets and costumes ever seen on the Metropolitan stage. Unfortunately, however, Messel's scenery was designed for an earlier production at Glyndebourne and has merely been adapted to the Metropolitan stage. Scaling up a small set doesn't always work at the Met and the second act decor, the boudoir of the Contessa, looks like an oversized parlor of an English country home...