Word: metropolitan
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Dates: during 1990-1999
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...Harvard radio station is currently discussing the possibility of carrying Saturday broadcasts of New York's Metropolitan Opera live starting this November, WHRB officials said...
Caroline was a good student, attending the Concord Academy, Radcliffe and Columbia University law school. She landed a job at the Metropolitan Museum of Art, which her mother loved and lived across the street from. She rented an apartment on the West Side with three roommates. She partied ever so lightly and dated a writer for two years before meeting an older man, Edwin Schlossberg, an eclectically brilliant polymorph, an author and museum designer, whom her mother adored. Schlossberg was 13 years older than Caroline, almost the same age difference between Jack and Jackie. She had as private a wedding...
...stayed in a few years back, Heather Rosett and her husband Charles let their two young sons eat pizza in the bathtub; that desperate measure is now de rigueur on all their family trips. On a business trip to New York City, Candyce Stapen took her daughter to the Metropolitan Museum of Art to see an exhibit of Impressionist paintings but wound up, at her daughter's insistence, counting the dogs in 18th and 19th century hunt scenes instead. "It wasn't what I had planned, but it was wonderful," she says. And one weathered traveler has been pleasantly surprised...
...strides onto the stage and opens his mouth. Out floats an exquisitely beautiful alto voice--and the crowd starts cheering. Is it a dream? A freak show? No, it's what happens whenever countertenor David Daniels makes another debut, as he did in April at New York City's Metropolitan Opera, and will be doing in August at the prestigious Edinburgh Festival. Seven short years ago, he was a frustrated tenor whose high notes refused to kick in; now he is racking up reviews that might make even Pavarotti envious...
...contrast between Kiefer and Polke couldn't be sharper, of course. Kiefer (whose drawings were recently shown at New York City's Metropolitan Museum of Art) is oratorical, Wagnerian; he is a flat-out mythomane, dedicated to the Sublime, the Enormous and the Ultra-German; a marvelous artist at his best and at his worst a Black Forest ham. Polke is thinner, weirder and more elusive. His work--whose basic nature developed during the period covered by this show, from 1963 to 1974--is a hard-to-read image haze formed by the overlay of Pop art on Germany...