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	<title>Musical America Blogs &#187; new york times</title>
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		<title>Keeping the Faith in Lucerne</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7139</link>
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		<pubDate>Fri, 07 Sep 2012 17:22:32 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Andris Nelsons]]></category>
		<category><![CDATA[Arnold Schönberg]]></category>
		<category><![CDATA[Baiba Skride]]></category>
		<category><![CDATA[City of Birmingham Orchestra]]></category>
		<category><![CDATA[Edgar Varese]]></category>
		<category><![CDATA[Gustav Mahler]]></category>
		<category><![CDATA[Igor Stravinksy]]></category>
		<category><![CDATA[Jim Oestreich]]></category>
		<category><![CDATA[Lucerne Festival]]></category>
		<category><![CDATA[Lucy Crowe]]></category>
		<category><![CDATA[Mariss Jansons]]></category>
		<category><![CDATA[Michael Haeflinger]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[Royal Concertgebouw Orchestra Amsterdam]]></category>
		<category><![CDATA[Samuel Barber]]></category>
		<category><![CDATA[Sergei Leiferkus]]></category>
		<category><![CDATA[Simon Halsey]]></category>
		<category><![CDATA[Sofia Gubaidulina]]></category>

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		<description><![CDATA[By Rebecca Schmid Reconnecting the spiritual with classical music might seem a controversial issue in an era of cultural pluralism, yet the hunger to unearth the spiritual has seeped into some of Europe´s leading festivals. As Jim Oestreich reported earlier this season in The New York Times, a wave of religiosity has spread from Lincoln [...]]]></description>
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		<title>Twilight of the Machine</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3827</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3827#comments</comments>
		<pubDate>Fri, 03 Feb 2012 21:48:34 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[Anthony Tommasini]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Deborah Voigt]]></category>
		<category><![CDATA[james jorden]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[otto schenk]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[the machine]]></category>
		<category><![CDATA[wagner]]></category>

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		<description><![CDATA[By James Jorden Revelation comes in the strangest places. Like, for example, I had this eventual moment of clarity about what it was that went wrong in the Lepage Ring, and what do you think sparked it? Of all things, last night’s performance of Ernani at the Met.  Now, this is not to say that [...]]]></description>
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		<title>Omus in Person</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3775</link>
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		<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>

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		<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>
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		<title>Peter&#8217;s Principles</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3167</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3167#comments</comments>
		<pubDate>Fri, 04 Nov 2011 20:13:00 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[james jorden]]></category>
		<category><![CDATA[leonard bernstein]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[music director]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[period costume]]></category>
		<category><![CDATA[peter gelb]]></category>
		<category><![CDATA[pr]]></category>
		<category><![CDATA[richard wagner]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[Street Car Named Desire]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[verdi]]></category>
		<category><![CDATA[willy decker]]></category>
		<category><![CDATA[Zurich]]></category>

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		<description><![CDATA[by James Jorden “I&#8217;ve almost come to the conclusion that this Mr. Hitler isn&#8217;t a Christian,” muses merry murderess Abby Brewster early in the first act of Arsenic and Old Lace, and to tell the truth I’m beginning to think I’m almost as far behind the curve as she was. Recent new productions at the [...]]]></description>
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		<title>The tears of a queen</title>
		<link>http://www.musicalamerica.com/mablogs/?p=789</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=789#comments</comments>
		<pubDate>Fri, 17 Dec 2010 20:14:47 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[franco zeffirelli]]></category>
		<category><![CDATA[la boheme]]></category>
		<category><![CDATA[marina poplavskaya]]></category>
		<category><![CDATA[martha stewart]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[otto schenk]]></category>
		<category><![CDATA[peter gelb]]></category>
		<category><![CDATA[pundits]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[the met]]></category>

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		<description><![CDATA[By James Jorden What makes a dedicated opera queen (well, anyway this dedicated opera queen) sad? Well, it goes like this: the General Manager of the Metropolitan Opera hosts a panel discussion to introduce the company’s upcoming new production of La traviata, the first non-Franco Zeffirelli take on Verdi’s tragedy to be seen there in [...]]]></description>
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