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	<title>Musical America Blogs &#187; komische oper</title>
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		<title>&#8216;Lulu&#8217; as post-racial Manifesto</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7785</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7785#comments</comments>
		<pubDate>Fri, 12 Oct 2012 08:54:50 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[alban berg]]></category>
		<category><![CDATA[American Lulu]]></category>
		<category><![CDATA[barrie kosky]]></category>
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		<category><![CDATA[Johannes Kalitzke]]></category>
		<category><![CDATA[Kirill Serebrennikov]]></category>
		<category><![CDATA[komische oper]]></category>
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		<category><![CDATA[Marisol Montalvo]]></category>
		<category><![CDATA[Olga Neuwirth]]></category>
		<category><![CDATA[Philipp Meierhöfer]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7785</guid>
		<description><![CDATA[By Rebecca Schmid The socially aware agenda of the Komische Oper’s new Intendant Barrie Kosky has been ruffling the feathers of Berliners months before he officially took over this season, not least with the decision to end the house tradition of performing operas exclusively in the German language. His emphasis on cultural pluralism aside, the [...]]]></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>
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		<category><![CDATA[Catherine Zuber]]></category>
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		<category><![CDATA[Johnny Greenwood]]></category>
		<category><![CDATA[Karsten Fundal]]></category>
		<category><![CDATA[komische oper]]></category>
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		<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>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[Katarina Bradic]]></category>
		<category><![CDATA[Kings Theater]]></category>
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		<category><![CDATA[Konrad Jünghanel]]></category>
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		<category><![CDATA[Kurt Weill]]></category>
		<category><![CDATA[Lotte Lenya]]></category>
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		<category><![CDATA[Xerxes]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4868</guid>
		<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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		<title>Berlin Diary</title>
		<link>http://www.musicalamerica.com/mablogs/?p=925</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=925#comments</comments>
		<pubDate>Sun, 10 Apr 2011 01:58:37 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[barrie kosky]]></category>
		<category><![CDATA[calixto bieito]]></category>
		<category><![CDATA[doris doerrie]]></category>
		<category><![CDATA[eurotrash]]></category>
		<category><![CDATA[komische oper]]></category>
		<category><![CDATA[otto schenk]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[revivals]]></category>
		<category><![CDATA[staatsoper unter den linden]]></category>
		<category><![CDATA[symbols]]></category>
		<category><![CDATA[the met]]></category>

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		<description><![CDATA[By James Jorden I apologize for long period (two months!) of radio silence: it&#8217;s been a very busy spring season in New York, broken up by a two week vacation my traveling companion and I called the &#8220;Regietournee,&#8221; a sampling of some of the opera direction going on in Germany (and other northern European theaters.) [...]]]></description>
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