<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	xmlns:series="http://unfoldingneurons.com/"
	>

<channel>
	<title>Musical America Blogs &#187; anna netrebko</title>
	<atom:link href="http://www.musicalamerica.com/mablogs/Index.php?feed=rss2&#038;tag=anna-netrebko" rel="self" type="application/rss+xml" />
	<link>http://www.musicalamerica.com/mablogs</link>
	<description></description>
	<lastBuildDate>Thu, 17 Jan 2013 04:15:38 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.0.6</generator>
		<item>
		<title>The Elixir fails to work its Magic at Lincoln Center; Efterklang with the Wordless Music Orchestra</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7624</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7624#comments</comments>
		<pubDate>Sun, 30 Sep 2012 18:04:01 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Ambroglio Maestri]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[Anne-Catherine Bird]]></category>
		<category><![CDATA[barrie kosky]]></category>
		<category><![CDATA[Bartlett Sher]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Catherine Zuber]]></category>
		<category><![CDATA[Deutsche Oper]]></category>
		<category><![CDATA[donizetti]]></category>
		<category><![CDATA[Efterklang]]></category>
		<category><![CDATA[Johnny Greenwood]]></category>
		<category><![CDATA[Karsten Fundal]]></category>
		<category><![CDATA[komische oper]]></category>
		<category><![CDATA[Lachenmann]]></category>
		<category><![CDATA[L’Elisir d’Amore]]></category>
		<category><![CDATA[Mariusz Kwiecien]]></category>
		<category><![CDATA[Matthew Polenzani]]></category>
		<category><![CDATA[Maurizio Benini]]></category>
		<category><![CDATA[Met Museum]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[Michael Yeargan]]></category>
		<category><![CDATA[Missy Mazzoli]]></category>
		<category><![CDATA[MONO]]></category>
		<category><![CDATA[NPR]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Worldless Music Orchestra]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7624</guid>
		<description><![CDATA[By Rebecca Schmid Many American opera-goers, including New Yorkers, look across the ocean and wish that their home institutions would afford themselves the same liberties of programming. Back in Berlin, the Deutsche Oper kicked off its season with a Lachenmann opera, Das Mädchen mit den Schwefelhölzern, while the Komische Oper launched a Monteverdi trilogy including [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=7624</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Plonk</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7610</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7610#comments</comments>
		<pubDate>Sun, 30 Sep 2012 06:06:57 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[beni montresor]]></category>
		<category><![CDATA[Dmitri Tcherniakov]]></category>
		<category><![CDATA[franco zeffirelli]]></category>
		<category><![CDATA[il trovatore]]></category>
		<category><![CDATA[Mariusz Kwiecien]]></category>
		<category><![CDATA[oliver messel]]></category>
		<category><![CDATA[opera]]></category>
		<category><![CDATA[realism]]></category>
		<category><![CDATA[Robert Wilson]]></category>
		<category><![CDATA[South Pacific]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[youtube]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7610</guid>
		<description><![CDATA[By James Jorden Of hundreds of juicy anecdotes in Ken Mandelbaum’s indispensable volume Not Since Carrie: 40 Years of Broadway Flops, one stands out perhaps a little more than the others. It’s about a show called Reuben Reuben which closed out of town in 1955. This was a through-composed absurdist piece by Mark Blitzstein, and [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=7610</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Claus Guth&#8217;s Forest-bound &#8216;Don Giovanni&#8217; at the Staatsoper; Musikfestspiele Potsdam&#8217;s new Pleasure Garden</title>
		<link>http://www.musicalamerica.com/mablogs/?p=5768</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=5768#comments</comments>
		<pubDate>Fri, 29 Jun 2012 12:01:35 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alexander Tsymbalyuk]]></category>
		<category><![CDATA[Andrea Palent]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[Anna Prohaska]]></category>
		<category><![CDATA[Anthony Holgborne]]></category>
		<category><![CDATA[Berlin Philharmonic]]></category>
		<category><![CDATA[Boulevard Unter den Linden]]></category>
		<category><![CDATA[C.P.E. Bach]]></category>
		<category><![CDATA[Christian Schmidt]]></category>
		<category><![CDATA[Christopher Maltman]]></category>
		<category><![CDATA[Claus Guth]]></category>
		<category><![CDATA[Da Ponte]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[dante]]></category>
		<category><![CDATA[Don Giovanni]]></category>
		<category><![CDATA[Dowland]]></category>
		<category><![CDATA[Emmanuel Pahud]]></category>
		<category><![CDATA[Erwin Schrott]]></category>
		<category><![CDATA[Fine Arts Brass]]></category>
		<category><![CDATA[Freundschaftsinsel]]></category>
		<category><![CDATA[Friedrich the Great]]></category>
		<category><![CDATA[Giuseppe Filianoti]]></category>
		<category><![CDATA[Handel]]></category>
		<category><![CDATA[Haydn Mendelssohn]]></category>
		<category><![CDATA[Jürgen Flimm]]></category>
		<category><![CDATA[La Scala]]></category>
		<category><![CDATA[Maria Bengtsson]]></category>
		<category><![CDATA[Meccore Quartet]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[Musikfestspiele Potsdam sanssouci]]></category>
		<category><![CDATA[Peter Maxwell Davies]]></category>
		<category><![CDATA[Potsdam]]></category>
		<category><![CDATA[Purcell]]></category>
		<category><![CDATA[Quantz]]></category>
		<category><![CDATA[Robert Carsen]]></category>
		<category><![CDATA[Röschmann]]></category>
		<category><![CDATA[Rousseau]]></category>
		<category><![CDATA[Salzburg Festival]]></category>
		<category><![CDATA[Sanssouci]]></category>
		<category><![CDATA[Schiller Theater]]></category>
		<category><![CDATA[Staatsoper Berlin]]></category>
		<category><![CDATA[Stefan Kocan]]></category>
		<category><![CDATA[Water Music]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=5768</guid>
		<description><![CDATA[By Rebecca Schmid Few operas in history have gripped the human psyche to the same extent as Don Giovanni. Pushkin, Kierkegaard, and Bernard Shaw count among the literary figures to have written their own account of the daemonic seductor since Mozart and Da Ponte staged their ‘drama giocoso,’ a tragi-comedy, in Prague. Since the 19th [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=5768</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Peter&#8217;s Principles</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3167</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3167#comments</comments>
		<pubDate>Fri, 04 Nov 2011 20:13:00 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[james jorden]]></category>
		<category><![CDATA[leonard bernstein]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[music director]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[period costume]]></category>
		<category><![CDATA[peter gelb]]></category>
		<category><![CDATA[pr]]></category>
		<category><![CDATA[richard wagner]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[Street Car Named Desire]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[verdi]]></category>
		<category><![CDATA[willy decker]]></category>
		<category><![CDATA[Zurich]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3167</guid>
		<description><![CDATA[by James Jorden “I&#8217;ve almost come to the conclusion that this Mr. Hitler isn&#8217;t a Christian,” muses merry murderess Abby Brewster early in the first act of Arsenic and Old Lace, and to tell the truth I’m beginning to think I’m almost as far behind the curve as she was. Recent new productions at the [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=3167</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Unglamorous Life</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2612</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2612#comments</comments>
		<pubDate>Sat, 08 Oct 2011 18:40:00 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[atys]]></category>
		<category><![CDATA[black and white]]></category>
		<category><![CDATA[Black Swan]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[david mcvicar]]></category>
		<category><![CDATA[donizetti]]></category>
		<category><![CDATA[franco zeffirelli]]></category>
		<category><![CDATA[glamour]]></category>
		<category><![CDATA[john dexter]]></category>
		<category><![CDATA[josef svoboda]]></category>
		<category><![CDATA[joseph volpe]]></category>
		<category><![CDATA[la traviata]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[live performance]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[new york observer]]></category>
		<category><![CDATA[period costume]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[repertoire]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2612</guid>
		<description><![CDATA[By James Jorden The Metropolitan Opera debut of Donizetti&#8217;s Anna Bolena, an amazing 180 years into the work&#8217;s history, won mostly respectful reviews last week—in between snipes at Anna Netrebko&#8217;s momentary breaking of character during the &#8220;Tower Scene.&#8221; A common thread in both published and popular opinion, though, was that the piece itself was not [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=2612</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
	</channel>
</rss>