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	<title>Musical America Blogs &#187; Handel</title>
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		<title>Drama Queen of the Year visits Berlin</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8228</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8228#comments</comments>
		<pubDate>Mon, 12 Nov 2012 11:49:47 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alan Curtis]]></category>
		<category><![CDATA[Cesti]]></category>
		<category><![CDATA[Dmitry Sinkovksy]]></category>
		<category><![CDATA[Drama Queens]]></category>
		<category><![CDATA[Handel]]></category>
		<category><![CDATA[Il Complesso Barocco]]></category>
		<category><![CDATA[Joyce DiDonato]]></category>
		<category><![CDATA[Keiser]]></category>
		<category><![CDATA[Konzerthaus Berlin]]></category>
		<category><![CDATA[Porta]]></category>
		<category><![CDATA[Virgin records]]></category>
		<category><![CDATA[Vivaldi]]></category>

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		<description><![CDATA[By Rebecca Schmid Fans of Joyce DiDonato may find it hard to fathom that one of today’s leading bel canto singers and Musical America’s Vocalist of the Year is just spreading her stardom to Germany. The Kansas native has sung only once at a Berlin opera house, performing Rosina in Il barbiere di Siviglia at [...]]]></description>
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		<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>
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		<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>
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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>
		<comments>http://www.musicalamerica.com/mablogs/?p=4868#comments</comments>
		<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>
		<category><![CDATA[Bertold Brecht]]></category>
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		<category><![CDATA[Edward James]]></category>
		<category><![CDATA[Gesine Völlm]]></category>
		<category><![CDATA[Hagen Matzeit]]></category>
		<category><![CDATA[Handel]]></category>
		<category><![CDATA[Heike Scheele]]></category>
		<category><![CDATA[Julia Giebel]]></category>
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		<category><![CDATA[Katarina Bradic]]></category>
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		<category><![CDATA[komische oper]]></category>
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		<category><![CDATA[Lotte Lenya]]></category>
		<category><![CDATA[Manuel Brug]]></category>
		<category><![CDATA[Seven Deadly Sins]]></category>
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		<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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