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	<title>Musical America Blogs &#187; NPR</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>
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		<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>
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		<category><![CDATA[Met Museum]]></category>
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		<category><![CDATA[NPR]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Worldless Music Orchestra]]></category>

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		<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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		<title>Hillary Hahn and Hauschka join Forces on &#8216;Silfra&#8217;; Riccardo Chailly and the Gewandhausorchester Leipzig</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4846</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4846#comments</comments>
		<pubDate>Fri, 18 May 2012 11:02:28 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Christina Landshamer]]></category>
		<category><![CDATA[concerti]]></category>
		<category><![CDATA[Deutsche Grammophon]]></category>
		<category><![CDATA[Gerschwin]]></category>
		<category><![CDATA[Gewandhausorchester Leipzig]]></category>
		<category><![CDATA[Hauschka]]></category>
		<category><![CDATA[Hélène Grimaud]]></category>
		<category><![CDATA[Hillary Hahn]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[NPR]]></category>
		<category><![CDATA[Ravel]]></category>
		<category><![CDATA[Riccardo Chailly]]></category>
		<category><![CDATA[Silfra]]></category>
		<category><![CDATA[Tom Brosseau]]></category>
		<category><![CDATA[Yellow Lounge]]></category>

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		<description><![CDATA[By Rebecca Schmid Hillary Hahn’s taste for the unconventional has in recent years taken her career onto a trajectory unlike that of most violin prodigies. Last October, she appeared on NPR’s Tiny Desk Concert Series improvising to traditional American melodies that inspired the works of Charles Ives, donning a fedora for the occasion. She maintains [...]]]></description>
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