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	<title>Musical America Blogs &#187; gesamtkunstwerk</title>
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		<title>What went wrong?</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3459</link>
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		<pubDate>Fri, 09 Dec 2011 16:58:28 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[english national opera]]></category>
		<category><![CDATA[gesamtkunstwerk]]></category>
		<category><![CDATA[houston grand opera]]></category>
		<category><![CDATA[peter gelb]]></category>
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		<description><![CDATA[By James Jorden After putting off for a week trying to make some sense of the horrific mess that is the Met&#8217;s new Faust, I&#8217;m finally just going to give up. There are some disasters that bear writing about as what you might call teaching opportunities: this season&#8217;s Don Giovanni, for example, as a cautionary [...]]]></description>
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		<title>Ring Recycle</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3243</link>
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		<pubDate>Fri, 18 Nov 2011 22:44:48 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
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		<category><![CDATA[fabio luisi]]></category>
		<category><![CDATA[gesamtkunstwerk]]></category>
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		<category><![CDATA[the enchanted island]]></category>
		<category><![CDATA[the fortress of solitude]]></category>
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		<category><![CDATA[wagner]]></category>

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		<description><![CDATA[By James Jorden Now that it has become apparent that Robert Lepage&#8217;s production of the Ring at the Met is a fiasco (too soon? Nah.)&#8230; well, anyway, since arguably the production is a dreary, unworkable, overpriced mess whose primary (perhaps only) virtue is that it actually hasn&#8217;t killed anyone yet, and since, let&#8217;s face it, [...]]]></description>
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		<title>She sees dead people</title>
		<link>http://www.musicalamerica.com/mablogs/?p=954</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=954#comments</comments>
		<pubDate>Thu, 28 Apr 2011 15:52:53 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[alban berg]]></category>
		<category><![CDATA[clowns]]></category>
		<category><![CDATA[deconstruction]]></category>
		<category><![CDATA[gesamtkunstwerk]]></category>
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		<category><![CDATA[regie]]></category>
		<category><![CDATA[stefan herheim]]></category>
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		<category><![CDATA[tennessee williams]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[tone rows]]></category>
		<category><![CDATA[vienna school]]></category>
		<category><![CDATA[wooster group]]></category>

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		<description><![CDATA[It&#8217;s fortunate that Lulu at Den Norske Opera was the last stop on the &#8220;Regietournee,&#8221; because honestly anything after that would have amounted to an anticlimax. If there is a more brilliant director working in opera today than Stefan Herheim, well, maybe I shouldn&#8217;t see any of his work, because it might be too much [...]]]></description>
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		<title>Regie in its natural habitat</title>
		<link>http://www.musicalamerica.com/mablogs/?p=940</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=940#comments</comments>
		<pubDate>Tue, 19 Apr 2011 21:23:38 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[calixto bieito]]></category>
		<category><![CDATA[gesamtkunstwerk]]></category>
		<category><![CDATA[journey of a thousand miles]]></category>
		<category><![CDATA[leather trench coats]]></category>
		<category><![CDATA[parsifal]]></category>
		<category><![CDATA[realism]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[revivals]]></category>
		<category><![CDATA[richard wagner]]></category>
		<category><![CDATA[staatsoper stuttgart]]></category>
		<category><![CDATA[symbols]]></category>

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		<description><![CDATA[By James Jorden The Staatsoper Stuttgart may be called the cradle of Regietheater, or at least a cradle of Regietheater. Strong theatrical values have characterized this company from the opening of the theater in 1912 (the world premiere of Ariadne auf Naxos, helmed by megaregisseur Max Reinhardt) through the 1950s, when Wieland Wagner&#8217;s frequent projects [...]]]></description>
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