Word: worke
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Dates: during 1970-1979
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...presented the world premiere of Alban Berg's complete Lulu in February, one of the masterpieces of 20th century opera stood revealed at last. Or did it? Berg left the orchestration of the third and final act unfinished at his death in 1935. For years the work had to be performed in truncated form. In Paris, Conductor Pierre Boulez unveiled the full score as completed by Viennese Composer Friedrich Cerha. But Director Patrice Chéreau's eccentric staging reflected as much Chéreau as Berg, and many of the composer's dramatic intentions remained unfulfilled...
...full-length Lulu is being given its first U.S. performances by the venturesome Santa Fe Opera. Some of the vocal panache and soaring emotion of the Paris production may be missing, but little else is. The Santa Feans have staged the work with unusual care and intelligence. This time Berg the librettist is as well served as Berg the composer...
John Conklin's set (inspired by sketches by the late Rudolf Heinrich for Santa Fe's U.S. premiere of the shorter Lulu in 1963) captures the work's heartless, hypocritical milieu with a doorway here, a sofa or a plant there. All is gelid grays and greens except for the lurid red of Lulu's dress and wig. The stage is framed by two skeletal, metallic walls that recede almost to a vanishing point. In the final scene, when Lulu has ended up as a prostitute in a London attic, the walls suggest the street below...
Chandler has approached both work and play with that same drive to prove himself. A big-game hunter who says his sport has taken him to "all the high mountains of the world," Chandler is also a motorcycle enthusiast, weight lifter and former Stanford University shotputter who made the Olympic team in 1952. Tall, tanned and blond, Chandler describes himself as "the world's oldest surfer" and regales visitors with tales of riding 12-ft. waves. He owns a $4 million fleet of competition cars and antique autos and is, along with Friend Paul Newman, one of the oldest...
...sure he knows exactly what his generation wants: less of the old smart-ass Moffitt's generation, he says, saw the emptiness of their parents' lives but have now outgrown their own cynicism. Economically, "they assume they can make it if they work," says Moffitt. So "after survival needs, they want to know who they are, they want more meaningful vacations, careers and relationships." They also want to be "better consumers." (That oldtime Esquire merchandising again!) Moffitt is hardly nihilistic. He wants Esquire to provide helpful guidance to behavior that would leave a fellow "feeling right, feeling good...