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"We are seeing a lot more keyboard trays within a work station for ergonomics and high-performance chairs with additional posture mechanisms," he said. "With monitors changing to more of a flat panel, we're seeing monitor arms that actually get the monitor off the desk environment and help to give the person more work space."

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The lodge's front desk constantly was fielding questions about where to rent or buy gear, said Base Camp Communications' Dave Simpson, who does marketing and public relations for the lodge.

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Volpe onstage with Plácido Domingo at a 1999 rehearsalof Simon Boccanegra© Beatriz Schiller 2006Volpe joined the Met, backstage, in August 1964. By 1966, he was the company’s master carpenter. In 1978, Anthony Bliss appointed him technical director. Volpe was then made assistant manager in 1981, a post he held for almost ten years, learning every aspect of opera management, including negotiating the company’s labor agreements. “When did I know I actually wanted to run the whole show?” Volpe asks now. “Back when Mr. Bing first announced his retirement in 1970 or so. I said to myself, ‘That’s the job for me.’” It was quite an ambition for a thirty-year-old carpenter. Volpe realized it in 1990 with the somewhat scaled-back title of “general director,” as one-third of a management triumvirate alongside artistic director James Levine and chief fundraiser Marilyn Shapiro. By 1993, though, he was in charge with the full rank he had sought: general manager. His tenure has been predictably activist. He increased the season length. He added to the variety of subscriber ticket packages, expanded the Met’s international touring schedule, and oversaw a remarkable period of relative labor peace. Even his waning months have been rife with action. Not - more available

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