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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 ...