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WEST SIDE FIXER-UPPER.(Lincoln Center )

The New Yorker

| July 07, 2003 | Goldberger, Paul | COPYRIGHT 2003 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

In the mid-fifties, when Robert Moses came up with the idea of Lincoln Center--a performing-arts complex that would make the depressed West Side of Manhattan respectable and provide the impetus for large-scale urban renewal--most of the city's performance venues were old, and people thought they should be replaced, not restored. The Metropolitan Opera House, on West Thirty-ninth Street, had sight-line problems, a cramped backstage, little room for storage, and inadequate rehearsal space. The company had been trying to relocate for nearly fifty years. The New York Philharmonic was particularly desperate, since its lease at Carnegie Hall was about to expire, and, in any ...

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