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	<title>Musical America Blogs &#187; metropolitan opera</title>
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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>
		<category><![CDATA[barrie kosky]]></category>
		<category><![CDATA[Bartlett Sher]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Catherine Zuber]]></category>
		<category><![CDATA[Deutsche Oper]]></category>
		<category><![CDATA[donizetti]]></category>
		<category><![CDATA[Efterklang]]></category>
		<category><![CDATA[Johnny Greenwood]]></category>
		<category><![CDATA[Karsten Fundal]]></category>
		<category><![CDATA[komische oper]]></category>
		<category><![CDATA[Lachenmann]]></category>
		<category><![CDATA[L’Elisir d’Amore]]></category>
		<category><![CDATA[Mariusz Kwiecien]]></category>
		<category><![CDATA[Matthew Polenzani]]></category>
		<category><![CDATA[Maurizio Benini]]></category>
		<category><![CDATA[Met Museum]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[Michael Yeargan]]></category>
		<category><![CDATA[Missy Mazzoli]]></category>
		<category><![CDATA[MONO]]></category>
		<category><![CDATA[NPR]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Worldless Music Orchestra]]></category>

		<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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		<item>
		<title>Finding the Right Gimmick</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4184</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4184#comments</comments>
		<pubDate>Wed, 14 Mar 2012 16:01:21 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alex ross]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[BBC]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[chamber music]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[Leinsdorf]]></category>
		<category><![CDATA[leon botstein]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[verdi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4184</guid>
		<description><![CDATA[by Sedgwick Clark Shaham’s 1939 Dark Horse Gil Shaham had an epiphany. After years of recognition as one of the brightest young lights of the concert circuit, the Israeli-American violinist conjured one of the most imaginative programming concepts in years. He had been struck by how many violin concertos written in the 1930s had entered [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Charles Anthony, No Unsung Hero</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4081</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4081#comments</comments>
		<pubDate>Mon, 27 Feb 2012 18:56:54 +0000</pubDate>
		<dc:creator>Alberich2</dc:creator>
				<category><![CDATA[A Rich Possession]]></category>
		<category><![CDATA[career]]></category>
		<category><![CDATA[Charles Anthony]]></category>
		<category><![CDATA[guinness book of world records]]></category>
		<category><![CDATA[James Conlon]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[ripley s believe it or not]]></category>
		<category><![CDATA[symphony]]></category>
		<category><![CDATA[the met]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4081</guid>
		<description><![CDATA[by James Conlon On February 15, one of the great men of opera passed away. Charles Anthony will be long remembered for the stunning statistics of his career at the Metropolitan Opera: 2,928 performances of 111 roles in 69 operas in 57 years. He appeared there more than any other artist in the Met’s history. [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Ring Recycle</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3243</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3243#comments</comments>
		<pubDate>Fri, 18 Nov 2011 22:44:48 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[ann ziff]]></category>
		<category><![CDATA[benedikt von peter]]></category>
		<category><![CDATA[blogs]]></category>
		<category><![CDATA[blu-ray]]></category>
		<category><![CDATA[bryn terfel]]></category>
		<category><![CDATA[Deborah Voigt]]></category>
		<category><![CDATA[deconstruction]]></category>
		<category><![CDATA[eva-maria westbroek]]></category>
		<category><![CDATA[fabio luisi]]></category>
		<category><![CDATA[gesamtkunstwerk]]></category>
		<category><![CDATA[gwyneth jones]]></category>
		<category><![CDATA[hd]]></category>
		<category><![CDATA[james levine]]></category>
		<category><![CDATA[jonas kaufmann]]></category>
		<category><![CDATA[julian crouch]]></category>
		<category><![CDATA[lady gaga]]></category>
		<category><![CDATA[lehman's syndrome]]></category>
		<category><![CDATA[martin kusej]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[otto schenk]]></category>
		<category><![CDATA[peter gelb]]></category>
		<category><![CDATA[phelim mcdermott]]></category>
		<category><![CDATA[pundits]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[richard croft]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[satyagraha]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[the enchanted island]]></category>
		<category><![CDATA[the fortress of solitude]]></category>
		<category><![CDATA[the machine]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[wagner]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3243</guid>
		<description><![CDATA[By James Jorden Now that it has become apparent that Robert Lepage&#8217;s production of the Ring at the Met is a fiasco (too soon? Nah.)&#8230; well, anyway, since arguably the production is a dreary, unworkable, overpriced mess whose primary (perhaps only) virtue is that it actually hasn&#8217;t killed anyone yet, and since, let&#8217;s face it, [...]]]></description>
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		<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>
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		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>Getting to Know You (writing a good bio)</title>
		<link>http://www.musicalamerica.com/mablogs/?p=1350</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=1350#comments</comments>
		<pubDate>Thu, 02 Jun 2011 04:15:51 +0000</pubDate>
		<dc:creator>Edna Landau</dc:creator>
				<category><![CDATA[Ask Edna]]></category>
		<category><![CDATA[Publicity and Promotion]]></category>
		<category><![CDATA[career]]></category>
		<category><![CDATA[classical music]]></category>
		<category><![CDATA[Edna Landau]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[performer]]></category>
		<category><![CDATA[pianist]]></category>
		<category><![CDATA[repertoire]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=1350</guid>
		<description><![CDATA[by Edna Landau To ask a question, please write Ask Edna. Please note that in the months of June, July and August, I will be posting new entries to this blog on a bi-weekly basis. I am grateful to all of you for your interest in “Ask Edna” and wish you a very pleasant summer. Dear [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=1350</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>She sees dead people</title>
		<link>http://www.musicalamerica.com/mablogs/?p=954</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=954#comments</comments>
		<pubDate>Thu, 28 Apr 2011 15:52:53 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[alban berg]]></category>
		<category><![CDATA[clowns]]></category>
		<category><![CDATA[deconstruction]]></category>
		<category><![CDATA[gesamtkunstwerk]]></category>
		<category><![CDATA[lighting]]></category>
		<category><![CDATA[lulu]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[realism]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[symbols]]></category>
		<category><![CDATA[tennessee williams]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[tone rows]]></category>
		<category><![CDATA[vienna school]]></category>
		<category><![CDATA[wooster group]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=954</guid>
		<description><![CDATA[It&#8217;s fortunate that Lulu at Den Norske Opera was the last stop on the &#8220;Regietournee,&#8221; because honestly anything after that would have amounted to an anticlimax. If there is a more brilliant director working in opera today than Stefan Herheim, well, maybe I shouldn&#8217;t see any of his work, because it might be too much [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Untrue West</title>
		<link>http://www.musicalamerica.com/mablogs/?p=783</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=783#comments</comments>
		<pubDate>Fri, 10 Dec 2010 20:54:57 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[Deborah Voigt]]></category>
		<category><![CDATA[franco zeffirelli]]></category>
		<category><![CDATA[joseph volpe]]></category>
		<category><![CDATA[Marcello Giordani]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[Mrs. Donald Harrington]]></category>
		<category><![CDATA[naturalism]]></category>
		<category><![CDATA[Plácido Domingo]]></category>
		<category><![CDATA[puccini]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=783</guid>
		<description><![CDATA[By James Jorden Of course it’s insanity in the current financial climate to suggest that the Met should have done a new production of La fanciulla del West this year, even though it&#8217;s a very special case: the centennial of the work&#8217;s world premiere, which was also the Met&#8217;s first world premiere. In fact, to [...]]]></description>
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		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>Stage Right</title>
		<link>http://www.musicalamerica.com/mablogs/?p=777</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=777#comments</comments>
		<pubDate>Thu, 02 Dec 2010 20:35:37 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[don carlo]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[nicholas hytner]]></category>
		<category><![CDATA[peter konwitschny]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=777</guid>
		<description><![CDATA[By James Jorden The staging of the Metropolitan Opera&#8217;s new production of Don Carlo is a triumph of conservatism. Ironic, when you come to think about it, because that’s the tragic action of the opera too: attempts at reform or even basic human compassion among the court of King Philip II are crushed like so many bugs [...]]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=777</wfw:commentRss>
		<slash:comments>1</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>
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		<slash:comments>1</slash:comments>
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