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	<title>Musical America Blogs &#187; Katarina Bradic</title>
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		<title>‘Mahlermania’ at the Deutsche Oper’s new Tischlerei</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8578</link>
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		<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>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>
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		<category><![CDATA[Hagen Matzeit]]></category>
		<category><![CDATA[Handel]]></category>
		<category><![CDATA[Heike Scheele]]></category>
		<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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