Sweet Returns Y M a Al Y/ R A

modernizing an iconic look W4 Calvin Klein’s Francisco Costa on FASHION FRIDAY - SUNDAY, OCTOBER 21 - 23, 2011 WEEKEND JOURNAL. The Golden Future of Hungary’s Tokaji Sweet Returns helps bring autumn inside W8 From lights to chairs, copper HOMES Martine Franck in focus W10 The portraits of photographer ART WSJ.com/lifeandstyle Cephas Picture Library/Alamy W2 THE WALL STREET JOURNAL. Friday - Sunday, October 21 - 23, 2011 PAGE TWO WEEKEND JOURNAL. 6-7| Cover Story Sweet and sumptuous, Hungary’s Tokaji is enjoying a second renaissance. 4| Fashion Calvin Klein Collection’s Francisco Costa on his inspirations, true style and crimes of fashion. ‘Being sexy is not about what’s on show, it’s all about suggestion, or insinuation.’ 8| Homes For contemporary designers, using copper to add a warm glow to interiors is elementary. 3| Music Andreas Scholl’s move illustration by Jean-Manuel Duvivier from counterterrorism to ‘countertenorism.’ The End of a Cold War Confection [ European Life ] life’s work. Currently he and his still clung to many of its pre-1989 5| Fashion firm, Gerkan, Marg und Partner, provincial ways. Pockets of so- From Karachi to Houston, fashion weeks burgeon. or gmp, are creating ambitious phistication have popped up in BY J. S. MARCUS IN BERLIN plans to redevelop the area after the city’s gentrified corners, but, it stops being an airport. apart from the thriving cultural Books Berlin’s Tegel Air- Tegel, explains Mr. von Gerkan, scene, a lot of daily life remains a 9| port, in the north- may have been designed at the little second rate. There is much Haruki Murakami’s hard-boiled emptiness. ern reaches of the height of the Cold War, but it pre- here that is unusual, but surpris- city, is a Cold War dates the terrorist concerns of ingly little that is exceptional, confection. Germany’s 1970s and everybody’s and the country’s best shopping 10-11| Culture Once a forest 21st century. The airport’s signa- and dining are mostly found in Martine Franck’s precise clearing used as a landing pad and ture is its drive-in layout, in which Germany’s smaller, wealthier cit- testing ground for pre-World War the hexagon functions as a kind of ies to the west. That is, until you and playful portraits, I airships, Tegel’s field rapidly be- hard-edged car harbor, allowing find your way to Kantstrasse, in Macedonia’s golden came a functioning airport in 1948 passengers to enter the airport a the heart of former West Berlin. during the Berlin Airlift, when the few hundred feet from where they Gradually but unmistakably, East artistry and more. Allies built what was then Eu- board their planes. His primary Asian restaurant owners have rope’s longest runway. concern during the design phase, taken over a charmless Berlin In the 1970s, a newly con- street, and made it into Ger- 12| Friday Night, structed Tegel Airport—marked many’s most bountiful provider by a strange, alluring, radically At the time of the of authentic Chinese, Thai and Saturday Morning functional hexagon-shaped termi- Vietnamese food. Spanish conductor Pablo Heras-Casado goes from nal—replaced Berlin’s Nazi-era competition in the early airport, Tempelhof, and, for four 1960s,... ‘Nobody was That Time of Year allegro to adagio. Plus, the Journal crossword. decades, it has been the main In the fall, I always head west point of arrival and departure for talking about hijacking.’ to Berlin’s Charlottenburg Palace, WSJ.com/lifeandstyle everyone from Ronald Reagan to to take a wistful look at what must Pope Benedict XVI. Now all that be the city’s—indeed, the coun- is set to change, as the city read- he says, was “comfort.” At the try’s—most out-of-the-way mas- ies the new Berlin Brandenburg time of the competition in the terpiece: Watteau’s “L’Enseigne de Airport, built southeast of the early 1960s, he recalls, “Nobody Gersaint” (1720-21), which, like a city, near what was once East was talking about hijacking.” lovely fall day, manages to be both Berlin’s main terminal, and set to He also had money on his mind. glorious and sad. A soaring double see its first commercial flight in That career-making hexagon, it canvas depicting a scene from an summer 2012. turns out, was a cost-cutting mea- 18th-century Paris art dealer’s Feeling a bit wistful about sure—cheaper, he says, than build- shop, the painting has more or three decades of my own arrivals ing rounded edges. Cost cutting less stayed in the same place since and departures, I tracked down also dominates talk about Tegel’s Frederick the Great acquired it a one of the airport’s original archi- afterlife in 2012, when Berlin plans decade after it was painted. Its tects, Meinhard von Gerkan, who, to start turning the airport into a complicated tableau features a as it happens, is also designing high-tech business park. The con- man packing away a portrait of Berlin’s new airport. Born in version, he says, will cost €150 Louis XIV not long after his death, Barbara Tina Fuhr Editor Carlos Tovar Art Director Latvia, and now based in Ham- million—€100 million less than to signaling a change in eras for a Beth Schepens Deputy Editor Elisabeth Limber Weekend Art Director burg, Mr. von Gerkan is 76 years tear everything down. crowd of sophisticated Parisians— Brian M. Carney Books Page Editor old, and he started working on Te- and a change in seasons for this gel when he was only 32. The An Exception to the Rule expatriate American. Questions or comments? Write to [email protected]. project made his name and, by Berlin is about as hip as Eu- —Next week, Please include your full name and address. some measure, has become his rope gets right now, but it has Sam Leith in London. Friday - Sunday, October 21 - 23, 2011 THE WALL STREET JOURNAL. W3 MUSIC Giving Voice to Old Stories on Stage German Countertenor Andreas Scholl on Portraying a More Complete Characterization of Humanity BY DAVID MERMELSTEIN not necessarily in the Olympics. And even if you work hard, disposi- ndreas Scholl can pretty tion and talent need to be there, A much pinpoint when a life in too. So if the sound is difficult to music became his destiny. produce, you’re not a countertenor. Having distinguished himself in It needs to be effortless.” the venerable boys’ choir of his A countertenor’s repertory may small hometown near Wiesbaden, at first seem relatively narrow— Germany, and following then-man- consisting primarily of a few Eng- datory military service, he moved lish composers plus Handel and to Switzerland in the late 1980s to Bach (whose music Mr. Scholl ex- attend the Schola Cantorum Basil- plores on his latest CD, just out on iensis in Basel, a leading center for Decca)—but the singer contends the study of early music. that the opposite is true. Yet even then he wasn’t sure “Statistics say that 80% of op- that a career as a countertenor, eras were composed before 1800,” singing music originally written for he says. “So there’s a huge universe castrated men more than two cen- to be rediscovered. And I find a turies ago, was for him. certain honesty and healthy use of “It was never a plan,” says Mr. the voice in Baroque music. With a Scholl, sitting in a hotel lobby in Los good technique, Handel will never Angeles the day after singing music stretch your voice, but Wagner and by the English Baroque composer Verdi can damage it if you’re not Henry Purcell at the Walt Disney careful. So I’m not that tempted to Concert Hall. The program—with sing that repertoire. There’s enough the singer again accompanied by the music of the type I already do sing English Concert under Harry till I retire.” Bicket—will be repeated in Boston Mr. Scholl says that his main on Sunday. And starting Nov. 14, he goal on the concert stage is to returns to the Metropolitan Opera in honor the text. “You focus on the New York for the first time since his storytelling,” he said. “Whether a debut there in 2006—once again piece is by Purcell or by Schubert, performing opposite Renée Fleming the questions are the same, even if in Handel’s “Rodelinda.” the answers are different. Am I talk- ecca An epiphany (though he does not ing to the audience, or am I in D d n use that word) changed Mr. Scholl’s monologue? Who am I? Sometimes a n a attitude about his future. within one song I sing two charac- ill “I heard some of the people in ters—the lover and his lass or the my college sing Monteverdi’s madri- preacher and the congregant. But es McM m gal ‘Lamento della Ninfa,’ and I was the same questions need to be asked Ja moved to tears by it,” he recalls. in any music where the words are of “That was the first time this hap- primary importance.” pened to me. I had no doubts from In opera, he places greater em- that moment on.” phasis on legato—“long vowels and Before that, the tall and broad- short consonants,” in his words— shouldered Mr. Scholl, who turns 44 but that doesn’t mean he neglects in November, had considered other core principles. Character develop- careers. “I thought I might study ment remains paramount. theology or go into the border po- “The art on stage is supposed to lice or something like that after my reflect life,” Mr.

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