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That leader was none other than 31-year old German DJ Timo Maas, the newest darling of the dance music scene. But his success was far from assured-faced with rain-soaked clubbers sporting high expectations (other weekend visitors to Boston included big-shot DJs Laurent Garnier and Judge Jules), Maas had to work to win the favor of his Lansdowne Street crowd...

Author: By Tom Clarke, CONTRIBUTING WRITER | Title: CRITICAL MAAS | 12/1/2000 | See Source »

...made his final appearance on the stage of the Palais Garnier, home of the Paris Opera Ballet, after a performance of his staging of La Bayadere. He needed dancers' support to stay upright. He was gaunt and emaciated, but the style was defiantly intact -- he was swathed in a huge gold-and-scarlet cape -- and so was the fiery heroism...

Author: /time Magazine | Title: Two Who Transformed Their Worlds: Rudolf Nureyev (1938-1993) | 1/18/1993 | See Source »

Practically from its conception, nearly a decade ago, the Bastille Opera has been plagued by controversy. It was one of those ideas that at first glance seemed both impossible and unnecessary. The opulent Palais Garnier, the Paris Opera's famed Second Empire quarters, was one of the world's most beautiful opera houses. The chosen site, a disused railroad station in then unfashionable eastern Paris, was deemed Nowhere by le Tout-Paris. And the cost of some $400 million, just about everybody said, could be better spent elsewhere...

Author: /time Magazine | Title: Music: No More Business as Usual | 4/2/1990 | See Source »

Chung's success was emblematic of the larger triumph. At every step in the Bastille's history, it would have been much easier to do nothing rather than something. It would have been easier to leave the Opera in the Garnier, easier to leave the solid but dull Barenboim in place, easier to maintain the Paris Opera's reputation as the art form's great underachiever...

Author: /time Magazine | Title: Music: No More Business as Usual | 4/2/1990 | See Source »

...contrast to the gaudy old Garnier, the 2,700-seat Bastille opera is designed to be austerely functional -- a bleak concrete, stainless-steel and glass oval, with gray-black granite floors and walls and five revolving stages for fast changes of scene. "The whole idea of this opera house is that it is very sober," according to architect Carlos Ott, 42. "You don't have decoration inside the hall. The decor is on the stage...

Author: /time Magazine | Title: Music: Second Storming of the Bastille | 1/30/1989 | See Source »

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