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	<title>Musical America Blogs &#187; Dimitry Ivashchenko</title>
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		<title>Rigoletto Lands in Stadium</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8931</link>
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		<pubDate>Fri, 21 Dec 2012 13:36:51 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Árpád Schilling]]></category>
		<category><![CDATA[Bavarian State Opera]]></category>
		<category><![CDATA[Bayerischer Staatsopernchor]]></category>
		<category><![CDATA[Dimitry Ivashchenko]]></category>
		<category><![CDATA[Franco Vassallo]]></category>
		<category><![CDATA[Joseph Calleja]]></category>
		<category><![CDATA[Marco Armiliato]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[Nadia Krasteva]]></category>
		<category><![CDATA[Patricia Petibon]]></category>
		<category><![CDATA[Planet of the Apes]]></category>
		<category><![CDATA[Rigoletto]]></category>
		<category><![CDATA[Vienna State Opera]]></category>

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		<description><![CDATA[By ANDREW POWELL Published: December 21, 2012 MUNICH — They all laughed eight years ago when the Bavarian State Opera set Verdi’s Rigoletto on the Planet of the Apes, and the production fast vanished. Naturally, then, the return of the deformed ducal jester in a new régie last Saturday (Dec. 15) promised relative normalcy, perhaps [...]]]></description>
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		<title>Winds of Change at the Komische Oper: ‘Xerxes’ and ‘The Seven Deadly Sins’</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4868</link>
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		<pubDate>Wed, 23 May 2012 11:31:30 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Andreas Homoki]]></category>
		<category><![CDATA[barrie kosky]]></category>
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		<category><![CDATA[Julia Giebel]]></category>
		<category><![CDATA[Karolina Gumos]]></category>
		<category><![CDATA[Katarina Bradic]]></category>
		<category><![CDATA[Kings Theater]]></category>
		<category><![CDATA[komische oper]]></category>
		<category><![CDATA[Konrad Jünghanel]]></category>
		<category><![CDATA[Kristiina Poska]]></category>
		<category><![CDATA[Kurt Weill]]></category>
		<category><![CDATA[Lotte Lenya]]></category>
		<category><![CDATA[Manuel Brug]]></category>
		<category><![CDATA[Seven Deadly Sins]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[Stella Doufexis]]></category>
		<category><![CDATA[The Three Penny Opera]]></category>
		<category><![CDATA[Thilo Reinhardt]]></category>
		<category><![CDATA[Xerxes]]></category>

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		<description><![CDATA[By Rebecca Schmid The Komische Oper champions a populist approach through German-language productions and contemporary stage concepts that for some opera goers is synonymous with the most vexing of Regietheater. While the emphasis of the company’s founder Walter Felsenstein on living theater above musical purity remains a locally prized virtue, the house’s attendance rate sank [...]]]></description>
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