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	<title>Musical America Blogs &#187; Munich</title>
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		<title>Muti Taps the Liturgy</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9102</link>
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		<pubDate>Tue, 08 Jan 2013 16:46:49 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Alisa Kolosova]]></category>
		<category><![CDATA[Arturo Toscanini]]></category>
		<category><![CDATA[Bavarian Radio Symphony Orchestra]]></category>
		<category><![CDATA[BR Chor]]></category>
		<category><![CDATA[Chicago Symphony Orchestra]]></category>
		<category><![CDATA[Claudio Abbado]]></category>
		<category><![CDATA[Herbert von Karajan]]></category>
		<category><![CDATA[Karajan Centrum]]></category>
		<category><![CDATA[Michele Pertusi]]></category>
		<category><![CDATA[Molfetta]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[Orchestra Cherubini]]></category>
		<category><![CDATA[Ravenna]]></category>
		<category><![CDATA[Riccardo Muti]]></category>
		<category><![CDATA[Rizzoli]]></category>
		<category><![CDATA[Ruth Ziesak]]></category>
		<category><![CDATA[Saimir Pirgu]]></category>
		<category><![CDATA[Salzburger Festspiele]]></category>
		<category><![CDATA[Teatro alla Scala]]></category>
		<category><![CDATA[Teatro dell’Opera di Roma]]></category>
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		<description><![CDATA[By ANDREW POWELL Published: January 8, 2013 RAVENNA — Sacred music has lent gravitas to Riccardo Muti’s career since the 1960s. Settings of the Ordinary and the burial service by Bach, Mozart, Cherubini, Schubert, Berlioz, Brahms and Verdi have drawn his attention and received, more often than not, a disciplined performance. No, this is not [...]]]></description>
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		<title>Rigoletto Lands in Stadium</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8931</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8931#comments</comments>
		<pubDate>Fri, 21 Dec 2012 13:36:51 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Árpád Schilling]]></category>
		<category><![CDATA[Bavarian State Opera]]></category>
		<category><![CDATA[Bayerischer Staatsopernchor]]></category>
		<category><![CDATA[Dimitry Ivashchenko]]></category>
		<category><![CDATA[Franco Vassallo]]></category>
		<category><![CDATA[Joseph Calleja]]></category>
		<category><![CDATA[Marco Armiliato]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[Nadia Krasteva]]></category>
		<category><![CDATA[Patricia Petibon]]></category>
		<category><![CDATA[Planet of the Apes]]></category>
		<category><![CDATA[Rigoletto]]></category>
		<category><![CDATA[Vienna State Opera]]></category>

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		<description><![CDATA[By ANDREW POWELL Published: December 21, 2012 MUNICH — They all laughed eight years ago when the Bavarian State Opera set Verdi’s Rigoletto on the Planet of the Apes, and the production fast vanished. Naturally, then, the return of the deformed ducal jester in a new régie last Saturday (Dec. 15) promised relative normalcy, perhaps [...]]]></description>
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		<title>Widmann’s Opera Babylon</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8362</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8362#comments</comments>
		<pubDate>Fri, 23 Nov 2012 11:15:57 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Alexander Janiczek]]></category>
		<category><![CDATA[András Schiff]]></category>
		<category><![CDATA[Anna Prohaska]]></category>
		<category><![CDATA[Arcanto Quartett]]></category>
		<category><![CDATA[Babylon]]></category>
		<category><![CDATA[Bavarian State Opera]]></category>
		<category><![CDATA[Bavarian-Babylonian March]]></category>
		<category><![CDATA[Carlus Padrissa]]></category>
		<category><![CDATA[Claron McFadden]]></category>
		<category><![CDATA[David Schultheiß]]></category>
		<category><![CDATA[Euphrates]]></category>
		<category><![CDATA[Gabriele Schnaut]]></category>
		<category><![CDATA[George Loomis]]></category>
		<category><![CDATA[Jörg Widmann]]></category>
		<category><![CDATA[Jussi Myllys]]></category>
		<category><![CDATA[Kai Wessel]]></category>
		<category><![CDATA[Kent Nagano]]></category>
		<category><![CDATA[Mozarteum]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[Munich Opera Festival]]></category>
		<category><![CDATA[Peter Sloterdijk]]></category>
		<category><![CDATA[Régietheater]]></category>
		<category><![CDATA[Salzburg Festival]]></category>
		<category><![CDATA[Tower of Babel]]></category>
		<category><![CDATA[Willard White]]></category>
		<category><![CDATA[Wolfgang Rihm]]></category>

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		<description><![CDATA[By ANDREW POWELL Published: November 23, 2012 MUNICH — Scorpion-Man prowls the rubble of an unnamed flattened city at the start of Babylon, Jörg Widmann’s new opera, wailing as he moves. We should care. Seven scenes, a Hanging Garden interlude, and three costly theater hours later, he is back, doing his thang over the same [...]]]></description>
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		<title>A Dresden Rosenkavalier</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8307</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8307#comments</comments>
		<pubDate>Mon, 19 Nov 2012 17:00:14 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Christian Thielemann]]></category>
		<category><![CDATA[Daniela Fally]]></category>
		<category><![CDATA[Daniela Sindram]]></category>
		<category><![CDATA[Der Rosenkavalier]]></category>
		<category><![CDATA[Dresden]]></category>
		<category><![CDATA[Dresden Staatskapelle]]></category>
		<category><![CDATA[Hans-Joachim Ketelsen]]></category>
		<category><![CDATA[Lohengrin]]></category>
		<category><![CDATA[Manon Lescaut]]></category>
		<category><![CDATA[Martin Gantner]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[Munich Philharmonic]]></category>
		<category><![CDATA[Richard Strauss]]></category>
		<category><![CDATA[Sächsische Staatskapelle]]></category>
		<category><![CDATA[Semperoper]]></category>
		<category><![CDATA[Soile Isokoski]]></category>
		<category><![CDATA[Uwe Eric Laufenberg]]></category>
		<category><![CDATA[Vienna State Opera]]></category>
		<category><![CDATA[Wolfgang Bankl]]></category>

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		<description><![CDATA[By ANDREW POWELL Published: November 19, 2012 DRESDEN — Christian Thielemann made his opera debut here yesterday (Nov. 18), 37 months after agreeing to replace Fabio Luisi as Chefdirigent of the Sächsische Staatskapelle, effectively music director of the Semperoper company. The vehicle, Uwe Eric Laufenberg’s 12-year-old, quasi-faithful staging of Der Rosenkavalier — notable for its [...]]]></description>
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		<title>Brahms Days in Tutzing</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8207</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8207#comments</comments>
		<pubDate>Thu, 08 Nov 2012 13:35:57 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Carl Orff]]></category>
		<category><![CDATA[Christian Lange]]></category>
		<category><![CDATA[Der Ring des Nibelungen]]></category>
		<category><![CDATA[Elly Ney]]></category>
		<category><![CDATA[Evangelische Akademie]]></category>
		<category><![CDATA[Franz Hawlata]]></category>
		<category><![CDATA[Haydn Variations]]></category>
		<category><![CDATA[Hermann Levi]]></category>
		<category><![CDATA[Johannes Brahms]]></category>
		<category><![CDATA[King Ludwig II]]></category>
		<category><![CDATA[Lake Starnberg]]></category>
		<category><![CDATA[Michael Volle]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[National Socialist]]></category>
		<category><![CDATA[Nazi Germany]]></category>
		<category><![CDATA[O Welt ich muß dich lassen]]></category>
		<category><![CDATA[Ojai Festival]]></category>
		<category><![CDATA[organ]]></category>
		<category><![CDATA[Paul Heyse]]></category>
		<category><![CDATA[Renate Sperger]]></category>
		<category><![CDATA[Sandtner]]></category>
		<category><![CDATA[Thomas Zagel]]></category>
		<category><![CDATA[Tutzing]]></category>
		<category><![CDATA[Tutzinger Brahmstage]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8207</guid>
		<description><![CDATA[By ANDREW POWELL Published: November 8, 2012 MUNICH — Johannes Brahms came here in 1870, catching the completed half of Wagner’s Ring and hobnobbing with colleagues, Liszt among them. He basked in a new celebrity, his German Requiem having appeared in print a year earlier. The visit ended with a few days’ repose at Lake [...]]]></description>
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		<title>Classical:NEXT debuts in Munich</title>
		<link>http://www.musicalamerica.com/mablogs/?p=5255</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=5255#comments</comments>
		<pubDate>Fri, 08 Jun 2012 11:02:46 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Anna Kleeblatt]]></category>
		<category><![CDATA[Association of Classical Independents in Germany]]></category>
		<category><![CDATA[Bavarian State Opera]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Carsten Dürer]]></category>
		<category><![CDATA[Christopher Gruits]]></category>
		<category><![CDATA[Classical:NEXT]]></category>
		<category><![CDATA[Gasteig]]></category>
		<category><![CDATA[Gramophone]]></category>
		<category><![CDATA[Harry Klein club]]></category>
		<category><![CDATA[James Jolly]]></category>
		<category><![CDATA[Jessica Duchen]]></category>
		<category><![CDATA[MIDEM]]></category>
		<category><![CDATA[Munich]]></category>
		<category><![CDATA[Naxos]]></category>
		<category><![CDATA[Oliver Condy]]></category>
		<category><![CDATA[PIANONews]]></category>
		<category><![CDATA[Thierry Pécou]]></category>

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		<description><![CDATA[By Rebecca Schmid Classical:NEXT, an exclusively classical professional forum which held its first edition from May 30-June 2 in Munich, set out with high ambitions. Founded at the behest of the Association of Classical Independents in Germany (CLASS) as an alternative to MIDEM, which has left many attendants disappointed in recent years both for its [...]]]></description>
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