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...without my glasses it was totally pitch black, like looking out into a cavern. I'm very myopic--my entire career at the opera revolves around trying not to break my neck because you can't wear glasses on stage. In Aida, for example, I was a torchbearer in the big triumphal march. You walk out, you walk downstage, you hit the front of the stage, and the stage drops very quickly because the set is elevated. As you hit that point, you enter the lights that cross the front of the stage, and you're blinded. So one step...

Author: By Peter M. Engel, | Title: Confessions of An Opera Star | 1/8/1980 | See Source »

...sound and the top notes. But if the repertoire stays too light, you don't give the voice free rein. I recently heard him in Luisa Miller in London, and ins voice was fantastically enriched for having sung heavier parts." Pavarotti is preparing the formidable role of Radames in Aida for San Francisco in 1981. Lohengrin may even be down the road some day. "I continue to take risks," he says. "I could spend the rest of my career singing Rodolfo, but it's not in my nature...

Author: /time Magazine | Title: Opera's Golden Tenor | 9/24/1979 | See Source »

...composite as opera, and the Met presents hits and flops about as frequently as any major company. It is in the middle ground of old favorites, like Il Trovatore and Carmen, the staple of any opera house, that the Met has abandoned its audience. Each year it revives Aida with mediocre singers. Undoubtedly the management calculates that these are operas which will fill seats no matter how meager the cast, and so far box office figures bear them out. Thus the present situation: except for new productions, only operas which are modern; unpopular, or obscure generally receive the casts they...

Author: By Scott A. Rosenberg, | Title: Meet the Met: | 4/26/1979 | See Source »

...Georgette Klinger, Elizabeth Arden, Christine Valmy and Adrien Arpel-cater to women who want treatments that they hope will keep their skin appearing young, smooth, wrinkle-free. Prices vary, but the average cost for a one-hour facial is $30. In Los Angeles, where looking good is an obsession, Aida Grey's baby-bottom-pink salon pampers 300 customers daily. They book their appointments as much as four months in advance, and their purses are lighter by $25 to $100 when when they leave. An ad for a $40 "Day of Beauty" at an Adrien Arpel clinic in Beverly...

Author: /time Magazine | Title: Business: The Newest Skin Game | 12/11/1978 | See Source »

...followed by a herbal or seaweed steam facial, manual and deep-pore cleansing, a tightening mask and a makeup consultation. More and more men are showing up in skin-treatment centers too: 10% of Arpel's customers and 20% of Klinger's are men, while both Aida Grey and the Beverly Hills Neiman-Marcus are about to open salons exclusively for them. Reports Billye Newman, an Arpel's executive: "We're not getting the gay guy. We're getting the truck drivers and the men who do dirty work. A jackhammer doesn...

Author: /time Magazine | Title: Business: The Newest Skin Game | 12/11/1978 | See Source »

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