Word: chicago
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Dates: during 1970-1979
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...from daytime pants to dressy fashions at night, and choose makeup and fragrances to match. "As we move from the '70s into the '80s, there is a general shift from feminist to feminine," says Frederick Scott, vice president of Elizabeth Arden. Marilyn Miglin, owner of a cosmetics salon on Chicago's Gold Coast, agrees: "The trend now is switching back to pure glamour." Which does not necessarily mean that the natural look and the life-style it suggests are out: happily for cosmetics sales, both it and smoky mystery can live in peaceful coexistence. One adman puts the point pithily...
...Klinger's salons in Manhattan, Chicago, Beverly Hills and Bal Harbour, Fla., the $30 treatment is basically the same for anyone who walks through the door, but individual skin type determines which of Klinger's more than 300 cleansing creams, lubricants and masks will be used. While the customer lies back, her legs covered with a blue and white paisley quilt, a cosmetologist goes to work, cleaning the skin with unscented makeup remover and lotion. Then a lubricant is applied with a small hot iron, which is a doll-sized version of the kitchen iron, to soften...
...victims at Auschwitz (1967) and a Magnificat (1974). For the past four years, Penderecki (pronounced Pen-de-ret-ski) has labored on a huge, lofty project: recasting Milton's epic poem, Paradise Lost, into an opera. But last week, in its world premiere at the Lyric Opera of Chicago, Penderecki's huge effort failed to justify the ways...
Paradise Lost was not just any new opera; it came as highly touted as a Cecil B. DeMille spectacular. The libretto was written by Playwright Christopher Fry (The Lady's Not for Burning). Chicago Lyric spent well over half a million dollars on the production, a near record. The musical forces were mighty: a Wagnerian orchestra of 96, a chorus of 100. The preparation was elaborate. Choral rehearsals began in April; the orchestra practiced an unprecedented 110 hours...
That is what the Chicago production failed to do. Adam and Eve, sung by Baritone William Stone and Soprano Ellen Shade, and Satan, Bass-Baritone Peter Van Ginkel, stumbled about in semidarkness. There seemed to be a ban on imaginative staging. Only twelve days before the premiere, the director, Virginio Puecher, resigned under pressure. "He wanted to do too much movement," said Penderecki. "I think that the drama should be in the music...