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	<title>Musical America Blogs &#187; Berlin</title>
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		<title>&#8216;Lulu&#8217; as post-racial Manifesto</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7785</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7785#comments</comments>
		<pubDate>Fri, 12 Oct 2012 08:54:50 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[alban berg]]></category>
		<category><![CDATA[American Lulu]]></category>
		<category><![CDATA[barrie kosky]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Claudio Otelli]]></category>
		<category><![CDATA[David Robert Coleman]]></category>
		<category><![CDATA[Della Miles]]></category>
		<category><![CDATA[Elena Kats-Chernin]]></category>
		<category><![CDATA[Gonduras Jitomirksky]]></category>
		<category><![CDATA[Jacques-Greg Belobo]]></category>
		<category><![CDATA[Johannes Kalitzke]]></category>
		<category><![CDATA[Kirill Serebrennikov]]></category>
		<category><![CDATA[komische oper]]></category>
		<category><![CDATA[lulu]]></category>
		<category><![CDATA[Marisol Montalvo]]></category>
		<category><![CDATA[Olga Neuwirth]]></category>
		<category><![CDATA[Philipp Meierhöfer]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Rolf Romei]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7785</guid>
		<description><![CDATA[By Rebecca Schmid The socially aware agenda of the Komische Oper’s new Intendant Barrie Kosky has been ruffling the feathers of Berliners months before he officially took over this season, not least with the decision to end the house tradition of performing operas exclusively in the German language. His emphasis on cultural pluralism aside, the [...]]]></description>
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		<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>
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		<title>New York Rites</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7453</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7453#comments</comments>
		<pubDate>Fri, 21 Sep 2012 17:11:32 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Boulez]]></category>
		<category><![CDATA[Ives]]></category>
		<category><![CDATA[Kurtag]]></category>
		<category><![CDATA[Leif Ove Andsnes]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Stockhausen]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[The Rite of Spring]]></category>
		<category><![CDATA[Vaslav Nijinsky]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7453</guid>
		<description><![CDATA[By Rebecca Schmid In Berlin, where contemporary music thrives from the Philharmonie to off spaces, it is a widespread perception that New York’s mainstream institutions are afraid to program anything past Stravinsky. A look at Alan Gilbert’s recent undertakings with the New York Philharmonic, notably in a hugely successful “360” concert of Mozart, Stockhausen, Boulez [...]]]></description>
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		<title>Impressions from the Green Hill: Tattoos, Rats and Embryos</title>
		<link>http://www.musicalamerica.com/mablogs/?p=6921</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=6921#comments</comments>
		<pubDate>Fri, 24 Aug 2012 04:20:55 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[bayreuth festival]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[berliner volksbühne]]></category>
		<category><![CDATA[Christa Mayer]]></category>
		<category><![CDATA[Christian Thielemann]]></category>
		<category><![CDATA[Deutsche Oper]]></category>
		<category><![CDATA[Eva Pasquier-]]></category>
		<category><![CDATA[flying dutchman]]></category>
		<category><![CDATA[Frank Castorf]]></category>
		<category><![CDATA[german theatre]]></category>
		<category><![CDATA[jan philipp]]></category>
		<category><![CDATA[katharina wagner]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=6921</guid>
		<description><![CDATA[By Rebecca Schmid The Bayreuth Festival has had its share of scandal to contend with as Wagner&#8217;s bicentenary approaches next season. An international investigation into exclusive ticketing practices; the publicized struggle to find the director for a new Ring cycle; administrative policies that have reportedly shortened rehearsal time; widely reviled productions; and—most recently—the last-minute withdrawal [...]]]></description>
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		<title>New Releases:  ‘Almost Truths and Open Deceptions’; &#8216;Opus 1&#8242;</title>
		<link>http://www.musicalamerica.com/mablogs/?p=6287</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=6287#comments</comments>
		<pubDate>Fri, 27 Jul 2012 13:30:31 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Almost Truths and Open Deceptions]]></category>
		<category><![CDATA[Andrew Russo]]></category>
		<category><![CDATA[Annie Gosfield]]></category>
		<category><![CDATA[Assaff Weisman]]></category>
		<category><![CDATA[Azica Records]]></category>
		<category><![CDATA[Bartok]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[David Cossin]]></category>
		<category><![CDATA[Debussy]]></category>
		<category><![CDATA[Felix Fan]]></category>
		<category><![CDATA[Israeli Chamber Project]]></category>
		<category><![CDATA[Itamar Zorman]]></category>
		<category><![CDATA[Jorge Luis Borges]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[Martinu]]></category>
		<category><![CDATA[Matan Porat]]></category>
		<category><![CDATA[Roger Kleier]]></category>
		<category><![CDATA[Saint-Saens]]></category>
		<category><![CDATA[Sivan Magen]]></category>
		<category><![CDATA[Tchaikovsky Competition]]></category>
		<category><![CDATA[The Pearls Before Swine Experience]]></category>
		<category><![CDATA[Tibi Cziger]]></category>
		<category><![CDATA[Tzadik Records]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=6287</guid>
		<description><![CDATA[By Rebecca Schmid The New York-based composer Annie Gosfield is best known for her synthesis of industrial sounds and other unconventional sampling into rock-inflected, yet often intricately wrought, compositions. As a fellow at the American Academy in Berlin last semester, she researched encrypted radio broadcasts from World War Two—part of a long-standing fascination with archaic [...]]]></description>
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		<title>The San Francisco Symphony Youth Orchestra takes the Philharmonie</title>
		<link>http://www.musicalamerica.com/mablogs/?p=5888</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=5888#comments</comments>
		<pubDate>Fri, 06 Jul 2012 13:15:43 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alasdair Neale]]></category>
		<category><![CDATA[ascap]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Donato Cabrera]]></category>
		<category><![CDATA[Grieg]]></category>
		<category><![CDATA[John Adams]]></category>
		<category><![CDATA[Lars Vogt]]></category>
		<category><![CDATA[Liam Boisset]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[Michael Tilson Thomas]]></category>
		<category><![CDATA[Midori]]></category>
		<category><![CDATA[Omar Shelly]]></category>
		<category><![CDATA[Philharmonie]]></category>
		<category><![CDATA[Ronald Gallman]]></category>
		<category><![CDATA[San Francisco Symphony]]></category>
		<category><![CDATA[San Francisco Symphony Youth Orchestra]]></category>
		<category><![CDATA[Shaker Loops]]></category>
		<category><![CDATA[Sir Simon Rattle]]></category>
		<category><![CDATA[Yo-Yo Ma]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=5888</guid>
		<description><![CDATA[By Rebecca Schmid A timpanist just tall enough to rumble his mallets over the kettle drums stares out from beneath his specs as Lars Vogt slides onto the bench for the opening chords of Grieg’s Piano Concerto. “I like that sound!” says Music Director Donato Cabrera to the young percussionist as he walks out into [...]]]></description>
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		<title>Festtage 2012 as Barenboim Fiesta</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4533</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4533#comments</comments>
		<pubDate>Fri, 13 Apr 2012 13:06:07 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alisa Weilerstein]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[Festtage]]></category>
		<category><![CDATA[Filarmonica della Scala]]></category>
		<category><![CDATA[Staatskapelle Berlin]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4533</guid>
		<description><![CDATA[By Rebecca Schmid The Staatsoper’s annual spring Festtage has become an even more distinguished event now that Daniel Barenboim serves as music director to La Scala in addition to his Berlin opera house. The festival, originally launched by the maestro in 1996 with Harry Kupfer’s Ring, features coveted soloists and premiere productions, as well as [...]]]></description>
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		<item>
		<title>Opening words…</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4470</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4470#comments</comments>
		<pubDate>Thu, 05 Apr 2012 15:52:55 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[DAAD]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[Don Giovanni]]></category>
		<category><![CDATA[Karl Scheffler]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[Offenbach]]></category>
		<category><![CDATA[Potsdamer Platz]]></category>
		<category><![CDATA[wagner]]></category>
		<category><![CDATA[Zürich Mozart]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4470</guid>
		<description><![CDATA[By Rebecca Schmid The author Karl Scheffler famously described Berlin as condemned to forever becoming but never being. When I arrived here nearly two years ago as a DAAD grantee in journalism, the city sprawled out like an unfinished collage. The Philharmonie on the gleaming, rebuilt Potsdamer Platz where I heard Daniel Barenboim perform and [...]]]></description>
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		<item>
		<title>Cellphones and Their Ilk</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3617</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3617#comments</comments>
		<pubDate>Wed, 18 Jan 2012 18:12:18 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[carnegie]]></category>
		<category><![CDATA[Carter Brey]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[Herbert von Karajan]]></category>
		<category><![CDATA[Kurt Masur]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[Newark]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Sibelius]]></category>
		<category><![CDATA[Simon Rattle]]></category>
		<category><![CDATA[Sir Thomas Beecham]]></category>
		<category><![CDATA[symphony]]></category>
		<category><![CDATA[Tony Tommasini]]></category>
		<category><![CDATA[Valery Gergiev]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3617</guid>
		<description><![CDATA[by Sedgwick Clark   Many years ago I was sitting next to the p.r. director of the Berlin Philharmonic at Carnegie Hall when a cellphone went off as Simon Rattle conducted. When the piece ended I asked him if that happened in Berlin. &#8220;Everywhere,&#8221; he said sadly.    I left for vacation two days after the cellphone brouhaha at the New [...]]]></description>
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