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	<title>Musical America Blogs &#187; Deutsche Oper</title>
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		<title>‘Mahlermania’ at the Deutsche Oper’s new Tischlerei</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8578</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8578#comments</comments>
		<pubDate>Fri, 30 Nov 2012 10:05:07 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alma Mahler]]></category>
		<category><![CDATA[Anna-Luise Recke]]></category>
		<category><![CDATA[Annedore Kleist]]></category>
		<category><![CDATA[Deutsche Oper]]></category>
		<category><![CDATA[Frank Willens]]></category>
		<category><![CDATA[Gustav Mahler]]></category>
		<category><![CDATA[Katarina Bradic]]></category>
		<category><![CDATA[Mahlermania]]></category>
		<category><![CDATA[Moritz Gnann]]></category>
		<category><![CDATA[Nico and the Navigators]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Simon Pauly]]></category>
		<category><![CDATA[Tischlerei]]></category>

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		<description><![CDATA[By Rebecca Schmid In the final scenes of Mahlermania, a ‘dramatic fantasy with music by Gustav Mahler’ conceived by the troupe Nico and the Navigators in cooperation with the Deutsche Oper to inaugurate the West Berlin opera house’s new alternative stage Tischlerei on November 27, manuscript paper and fur coats scatter across the stage in [...]]]></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>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>

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		<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>Angela Meade makes Berlin Debut; Peaches takes Opera Underground</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4796</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4796#comments</comments>
		<pubDate>Fri, 11 May 2012 12:02:15 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Armin Gramer]]></category>
		<category><![CDATA[Daniel Cramer]]></category>
		<category><![CDATA[Deutsche Oper]]></category>
		<category><![CDATA[Ensemble Kaleidoskop]]></category>
		<category><![CDATA[Guillermo Garcia Calvo]]></category>
		<category><![CDATA[HAU1]]></category>
		<category><![CDATA[I Due Foscari]]></category>
		<category><![CDATA[james jorden]]></category>
		<category><![CDATA[Leo Nucci]]></category>
		<category><![CDATA[Mascha Mazur]]></category>
		<category><![CDATA[Monteverdi]]></category>
		<category><![CDATA[Olof Borman]]></category>
		<category><![CDATA[Orfeo]]></category>
		<category><![CDATA[Peaches]]></category>
		<category><![CDATA[Ramon Vargas]]></category>
		<category><![CDATA[Roberto Rizzi Brignoli]]></category>
		<category><![CDATA[Sabine Neumann]]></category>
		<category><![CDATA[Tagesspiegel]]></category>
		<category><![CDATA[Timo Kreuser]]></category>
		<category><![CDATA[Ulrike Schwab]]></category>
		<category><![CDATA[verdi]]></category>

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		<description><![CDATA[By Rebecca Schmid The Deutsche Oper maintains a dedicated West Berlin following not only for its provocative stagings but sober concert operas showcasing star singers. Of nine “premieres” this season, four are in concert, and in the best scenario feature works known for their dramaturgical weaknesses. The house claimed in a press conference last season [...]]]></description>
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