<?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; Lotte Lenya</title>
	<atom:link href="http://www.musicalamerica.com/mablogs/Index.php?feed=rss2&#038;tag=lotte-lenya" rel="self" type="application/rss+xml" />
	<link>http://www.musicalamerica.com/mablogs</link>
	<description></description>
	<lastBuildDate>Thu, 17 Jan 2013 04:15:38 +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>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>
		<category><![CDATA[Brigitte Geller]]></category>
		<category><![CDATA[Calixto Bieto]]></category>
		<category><![CDATA[Dagmar Manzel]]></category>
		<category><![CDATA[Dimitry Ivashchenko]]></category>
		<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>
		<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>

		<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>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=4868</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Seven Deadly Sins at City Ballet</title>
		<link>http://www.musicalamerica.com/mablogs/?p=1213</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=1213#comments</comments>
		<pubDate>Tue, 24 May 2011 23:54:39 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[After the Rain]]></category>
		<category><![CDATA[Allegra Kent]]></category>
		<category><![CDATA[Balanchine]]></category>
		<category><![CDATA[Beowulf Boritt]]></category>
		<category><![CDATA[Bertolt Brecht]]></category>
		<category><![CDATA[Chester Kallman]]></category>
		<category><![CDATA[Christopher Wheeldon]]></category>
		<category><![CDATA[Clotilde Otranto]]></category>
		<category><![CDATA[Deborah Jowitt]]></category>
		<category><![CDATA[Elia Kazan]]></category>
		<category><![CDATA[Jason Kantrowitz]]></category>
		<category><![CDATA[John Martin]]></category>
		<category><![CDATA[Karinska]]></category>
		<category><![CDATA[Kurt Weill]]></category>
		<category><![CDATA[Lotte Lenya]]></category>
		<category><![CDATA[Lynn Taylor-Corbett]]></category>
		<category><![CDATA[Marlon Brando]]></category>
		<category><![CDATA[New York City Ballet]]></category>
		<category><![CDATA[Patty Lapone]]></category>
		<category><![CDATA[Peter Martins]]></category>
		<category><![CDATA[Street Car Named Desire]]></category>
		<category><![CDATA[The Real Housewives of Beverly Hills]]></category>
		<category><![CDATA[The Seven Deadly Sins]]></category>
		<category><![CDATA[Tilly Losch]]></category>
		<category><![CDATA[Vienna Waltzes]]></category>
		<category><![CDATA[W.H. Auden]]></category>
		<category><![CDATA[Wendy Whelan]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=1213</guid>
		<description><![CDATA[New York City Ballet’s new staging of  “The Seven Deadly Sins ,” which had its premiere at the company’s spring gala on May 11,  puts Kurt Weill and Bertolt Brecht’s dark, sinister “ballet chanté” of 1933 into a new context:  a tinsel-town soundstage, complete with unison hoofers in the grand finale.  Choreographer Lynn Taylor-Corbett, whose credits include Broadway’s “Swing,” has essentially created a Cliff Notes version of this irony-laced yarn, dragging  principal dancer Wendy Whelan and guest artist Patti Lapone through seven shallow scenes of human transgression and stripping the work of its brooding soul.]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=1213</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>