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...Only a Paper Moon, Pennies from Heaven}, joined in the singing of the Whiffenpoof Song. Surprise Guest Nat "King" Cole sang a few numbers. A hairdresser flitted around spraying hairdressing on falling female locks. General Motors' retired Board Chairman Albert Bradley gazed at the sumptuous decor (2,000,000 real magnolia leaves, real 18th century tapestries), said with a grin: "Maybe I'll take all these decorations and ship them to our next Moto-rama." An elderly lady observed with a sniff that old Henry Ford "wouldn't have liked all this smoking...

Author: /time Magazine | Title: SOCIETY: Minuet in 250 Gs | 1/4/1960 | See Source »

...neither stage presence nor the power to match the Nilsson salvos. Baritone Walter Cassel as Kurvenal and Bass Jerome Hines as King Mark both turned in workmanlike performances, and Soprano Irene Dalis was impressive as Brangaene. Conductor Karl Boehm led his orchestra through a methodical reading. As for the decor, with the world's best to choose from, the Met had again picked the second-rate. The sets by German Designer Teo Otto were pedestrian and confusing: starkly realistic castle turrets and ramparts set alongside fanciful, gold-leafed trees and stylized, sawtooth waves...

Author: /time Magazine | Title: Music: New Flagstad? | 12/28/1959 | See Source »

...company has been the scenic inventiveness of the gifted young American designers whom Miss Caldwell has commissioned. One of the handsomest operatic settings I have ever seen was the elegant interior of Bartolo's house that Robert O'Hearn conceived for last spring's Barber. Robert Fletcher's decor for the new Tosca continues this very commendable tradition...

Author: By Ian Strasfogel, | Title: Operation Opera | 11/13/1959 | See Source »

...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...

Author: By Ian Strasfogel, | Title: A Week at the Opera | 10/30/1959 | See Source »

...decor is traditionally Spanish black and white. The floor is black and white tile, the walls are white stucco. A mural maintaining the black and white motif will eventually fill one wall. The room is discreetly well lit, and the limited number of tables avoids the danger of overcrowding...

Author: By Alice E. Kinzler, | Title: Continental Cafe | 10/30/1959 | See Source »

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