<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	xmlns:series="http://unfoldingneurons.com/"
	>

<channel>
	<title>Musical America Blogs &#187; lincoln center</title>
	<atom:link href="http://www.musicalamerica.com/mablogs/Index.php?feed=rss2&#038;tag=lincoln-center" rel="self" type="application/rss+xml" />
	<link>http://www.musicalamerica.com/mablogs</link>
	<description></description>
	<lastBuildDate>Wed, 16 Jan 2013 16:01:59 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.0.6</generator>
		<item>
		<title>New York Was His &#8220;Howieland&#8221;</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4114</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4114#comments</comments>
		<pubDate>Wed, 29 Feb 2012 17:04:29 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Christine Brewer]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[David Merrick]]></category>
		<category><![CDATA[Eric Owens]]></category>
		<category><![CDATA[Howard Kissel]]></category>
		<category><![CDATA[Jeremy Geffen]]></category>
		<category><![CDATA[John Oliver]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Maazel]]></category>
		<category><![CDATA[Michelle DeYoung]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[philharmonic]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Sibelius]]></category>
		<category><![CDATA[Tanglewood]]></category>
		<category><![CDATA[Woody Allen]]></category>
		<category><![CDATA[Zankel]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4114</guid>
		<description><![CDATA[by Sedgwick Clark It’s a most improbable New York story: Broadway salutes a theater critic, of all things, by dimming its lights during prime box-office time prior to curtain. How often has that happened? No one would have been more astonished to receive this honor than its recipient, Howard Kissel, theater critic of the New [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=4114</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Omus in Person</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3775</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3775#comments</comments>
		<pubDate>Wed, 01 Feb 2012 16:50:28 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Aaron Kernis]]></category>
		<category><![CDATA[Alicia de Larrocha]]></category>
		<category><![CDATA[Allan Kozinn]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[Brian Kellow]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Christopher Hunt]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[classical music]]></category>
		<category><![CDATA[Deborah Borda]]></category>
		<category><![CDATA[Festival]]></category>
		<category><![CDATA[Jane Moss]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[Kirk Varnedoe]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Mary Lou Falcone]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[performer]]></category>
		<category><![CDATA[Schmidt]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[symphony]]></category>
		<category><![CDATA[Town Hall]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3775</guid>
		<description><![CDATA[by Sedgwick Clark I first met Omus Hirshbein in Carnegie Hall’s executive offices, where he worked for a brief time in 1973 between tenures at the Hunter College Concert Bureau and the 92nd Street Y. He was walking out of a planning meeting, saying in frustration to anyone nearby, “They won’t listen to me—they should [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=3775</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>The joys of the ballet spoof</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3719</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3719#comments</comments>
		<pubDate>Thu, 26 Jan 2012 22:13:52 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Amanda Hankes]]></category>
		<category><![CDATA[Andrew Veyette]]></category>
		<category><![CDATA[Cameron Grant]]></category>
		<category><![CDATA[Cedar Lake Contemporary Ballet Theater]]></category>
		<category><![CDATA[concerto in d minor for two violins]]></category>
		<category><![CDATA[Concerto Nuovo]]></category>
		<category><![CDATA[Dancers Responding to AIDS]]></category>
		<category><![CDATA[Danny Kaye]]></category>
		<category><![CDATA[Frederic Chopin]]></category>
		<category><![CDATA[J.S. Bach]]></category>
		<category><![CDATA[Jeremy McQueen]]></category>
		<category><![CDATA[Jerome Robbins]]></category>
		<category><![CDATA[Knock on Wood]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Maria Kowroski]]></category>
		<category><![CDATA[Michael Kidd]]></category>
		<category><![CDATA[New York City Ballet]]></category>
		<category><![CDATA[Paramount Pictures]]></category>
		<category><![CDATA[Russian ballet]]></category>
		<category><![CDATA[The Concert]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3719</guid>
		<description><![CDATA[There is nothing like a good ballet spoof. At New York City Ballet’s January 21 matinee performance, the company danced at Lincoln Center Jerome Robbins’ “The Concert” (1956). Whether you get the inside jokes regarding specific ballets, Robbins’s jabs at ballet traditions—the good, bad and the ugly—directly communicate. ]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=3719</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Pursuing Two Careers Simultaneously</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3545</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3545#comments</comments>
		<pubDate>Thu, 05 Jan 2012 03:35:59 +0000</pubDate>
		<dc:creator>Edna Landau</dc:creator>
				<category><![CDATA[Arts Administration]]></category>
		<category><![CDATA[Ask Edna]]></category>
		<category><![CDATA[arts administration]]></category>
		<category><![CDATA[askedna]]></category>
		<category><![CDATA[career]]></category>
		<category><![CDATA[chamber music]]></category>
		<category><![CDATA[Edna Landau]]></category>
		<category><![CDATA[kennedy center]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Los Angeles Opera]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[New York]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3545</guid>
		<description><![CDATA[   by Edna Landau To ask a question, please write Ask Edna. Dear Edna: I am a composer, recently graduated with two Masters degrees, and I have chosen the administrative route for a small and ambitious organization. In your earlier column entitled “Overqualified and Underemployed”, you rightly wrote that many connections can be made working in [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=3545</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Do We Take Ourselves Too Seriously?</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3194</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3194#comments</comments>
		<pubDate>Thu, 10 Nov 2011 04:15:17 +0000</pubDate>
		<dc:creator>Edna Landau</dc:creator>
				<category><![CDATA[Ask Edna]]></category>
		<category><![CDATA[Communicating with Your Audience]]></category>
		<category><![CDATA[askedna]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Deborah Voigt]]></category>
		<category><![CDATA[Edna Landau]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[Perlman]]></category>
		<category><![CDATA[Zankel]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3194</guid>
		<description><![CDATA[By: Edna Landau To ask a question, please write Ask Edna. A few nights ago, I attended a musical evening of sorts—not at Carnegie Hall or Lincoln Center but at Carolines Comedy Club in New York City. Intrigued by the advertisements I heard on radio station WQXR for its Classical Comedy Contest, I bought two tickets, [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=3194</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Unglamorous Life</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2612</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2612#comments</comments>
		<pubDate>Sat, 08 Oct 2011 18:40:00 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[atys]]></category>
		<category><![CDATA[black and white]]></category>
		<category><![CDATA[Black Swan]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[david mcvicar]]></category>
		<category><![CDATA[donizetti]]></category>
		<category><![CDATA[franco zeffirelli]]></category>
		<category><![CDATA[glamour]]></category>
		<category><![CDATA[john dexter]]></category>
		<category><![CDATA[josef svoboda]]></category>
		<category><![CDATA[joseph volpe]]></category>
		<category><![CDATA[la traviata]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[live performance]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[new york observer]]></category>
		<category><![CDATA[period costume]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[repertoire]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2612</guid>
		<description><![CDATA[By James Jorden The Metropolitan Opera debut of Donizetti&#8217;s Anna Bolena, an amazing 180 years into the work&#8217;s history, won mostly respectful reviews last week—in between snipes at Anna Netrebko&#8217;s momentary breaking of character during the &#8220;Tower Scene.&#8221; A common thread in both published and popular opinion, though, was that the piece itself was not [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=2612</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>Mostly Mozart/Some Stravinsky</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2343</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2343#comments</comments>
		<pubDate>Fri, 12 Aug 2011 08:50:57 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[anythingâ]]></category>
		<category><![CDATA[Berio]]></category>
		<category><![CDATA[Boulez]]></category>
		<category><![CDATA[Charles Kuralt]]></category>
		<category><![CDATA[choreographer pina bausch]]></category>
		<category><![CDATA[Dumbarton]]></category>
		<category><![CDATA[Finnissy]]></category>
		<category><![CDATA[hungarian radio]]></category>
		<category><![CDATA[Jeremy Denk]]></category>
		<category><![CDATA[jessye norman]]></category>
		<category><![CDATA[John Adams]]></category>
		<category><![CDATA[julie taymor]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Mark Swed]]></category>
		<category><![CDATA[Murray Perahia]]></category>
		<category><![CDATA[Oedipus]]></category>
		<category><![CDATA[oedipus rex]]></category>
		<category><![CDATA[Ozawa]]></category>
		<category><![CDATA[sacre du printemps]]></category>
		<category><![CDATA[Schnittke]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[théâtre des champs elysées]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2343</guid>
		<description><![CDATA[by Sedgwick Clark Lincoln Center’s attempt to add variety to Mostly Moz is just fine with me, especially if the variety is Stravinsky. Audiences seem to agree too, for a Saturday afternoon of Stravinsky films and two concerts of his chamber music by the spiffy International Contemporary Ensemble (ICE) were packed. The first of the [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=2343</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Möst Rewarding Partnership</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2202</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2202#comments</comments>
		<pubDate>Thu, 28 Jul 2011 04:50:14 +0000</pubDate>
		<dc:creator>Edna Landau</dc:creator>
				<category><![CDATA[Arts Administration]]></category>
		<category><![CDATA[Ask Edna]]></category>
		<category><![CDATA[artist management]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[bruckner]]></category>
		<category><![CDATA[cleveland orchestra]]></category>
		<category><![CDATA[edna]]></category>
		<category><![CDATA[jeffrey kahane]]></category>
		<category><![CDATA[Landau]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[van cliburn competition]]></category>
		<category><![CDATA[youth orchestra]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2202</guid>
		<description><![CDATA[By Edna Landau To ask a question, please write Ask Edna. In March of this year, I was invited to speak to a wonderful group of arts supporters in Pasadena, California, by the name of Metropolitan Associates. They were interested in hearing about my career in artist management and in having the opportunity to ask questions [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=2202</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Nixon in Amber</title>
		<link>http://www.musicalamerica.com/mablogs/?p=857</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=857#comments</comments>
		<pubDate>Fri, 04 Feb 2011 20:52:16 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[Chiang Ching]]></category>
		<category><![CDATA[english national opera]]></category>
		<category><![CDATA[franco zeffirelli]]></category>
		<category><![CDATA[houston grand opera]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Mark Morris]]></category>
		<category><![CDATA[new york city opera]]></category>
		<category><![CDATA[peter gelb]]></category>
		<category><![CDATA[peter sellars]]></category>
		<category><![CDATA[ping pong diplomacy]]></category>
		<category><![CDATA[puccini]]></category>
		<category><![CDATA[republic of china]]></category>
		<category><![CDATA[revivals]]></category>
		<category><![CDATA[the met]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=857</guid>
		<description><![CDATA[By James Jorden It&#8217;s not hard to guess why Peter Gelb would choose to import a recreation of the original production of Nixon in China instead of devising a new staging from scratch. It would hardly be prudent to blow a million dollars on a six-performance run of a work unlikely to be revived any [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=857</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Night of the Living Dead</title>
		<link>http://www.musicalamerica.com/mablogs/?p=772</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=772#comments</comments>
		<pubDate>Fri, 19 Nov 2010 21:14:19 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[cecilia bartoli]]></category>
		<category><![CDATA[joseph volpe]]></category>
		<category><![CDATA[lesley koenig]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[pr]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[revivals]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=772</guid>
		<description><![CDATA[By James Jorden Revival. Strange word, and creepy, when you think about it. Something used to be alive, then it wasn&#8217;t and now (presumably) it is, again. But it&#8217;s that last step, the actual reviving that seems so often to elude the revival of an opera production.  What started me thinking about this was the [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=772</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
	</channel>
</rss>