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	<title>Musical America Blogs &#187; peter grimes</title>
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		<title>A Dance Labyrinth by Kyle Abraham</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8221</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8221#comments</comments>
		<pubDate>Mon, 12 Nov 2012 02:48:38 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Benjamin Britton]]></category>
		<category><![CDATA[Boyz n the Hood]]></category>
		<category><![CDATA[Donny Hathaway]]></category>
		<category><![CDATA[Fred McDowell]]></category>
		<category><![CDATA[Harlem Stage Gatehouse]]></category>
		<category><![CDATA[Hurricane Sandy]]></category>
		<category><![CDATA[J.S. Bach]]></category>
		<category><![CDATA[John Singleton]]></category>
		<category><![CDATA[Kyle Abraham]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[Pavement]]></category>
		<category><![CDATA[peter grimes]]></category>
		<category><![CDATA[Philippe Jaroussky]]></category>
		<category><![CDATA[Rena Butler]]></category>
		<category><![CDATA[Sam Cooke]]></category>
		<category><![CDATA[Some Day We'll All Be Free]]></category>
		<category><![CDATA[Souls of Black Folk]]></category>
		<category><![CDATA[The Wasteland]]></category>
		<category><![CDATA[W.E.B. Dubois]]></category>
		<category><![CDATA[West Side Story]]></category>
		<category><![CDATA[What's the Matter Now]]></category>

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		<description><![CDATA[The world premiere of Kyle Abraham’s Pavement, seen at the Harlem Stage Gatehouse on November 3, evokes a vision of urban youth careening through a dark world. Abraham begins Pavement by marking a spot with his downcast arm.  Then he lassoes his body, drawing a circle with his outstretched limbs. He moves loose, full force and in searching manner, as if looking for a clear compass. When a white dancer enters, he stops Abraham, lies him face down on the floor, and brings his hands to the base of his spine. Abraham’s arrest is done without emotion. This lack of drama makes the event feel doubly devastating.]]></description>
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		<title>Rocky Seas, a Waltz and a Violin Concerto</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7995</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7995#comments</comments>
		<pubDate>Fri, 26 Oct 2012 11:18:02 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Andris Nelsons]]></category>
		<category><![CDATA[Anne-Sophie Mutter]]></category>
		<category><![CDATA[Benjmain Britten]]></category>
		<category><![CDATA[Berlin Philharmonic]]></category>
		<category><![CDATA[Christian Tetzlaff]]></category>
		<category><![CDATA[Claude Debussy]]></category>
		<category><![CDATA[Johann Strauß]]></category>
		<category><![CDATA[John Williams]]></category>
		<category><![CDATA[Jörg Widmann]]></category>
		<category><![CDATA[la mer]]></category>
		<category><![CDATA[La valse]]></category>
		<category><![CDATA[Luciano Berio]]></category>
		<category><![CDATA[Maurice Ravel]]></category>
		<category><![CDATA[peter grimes]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Wolfgang Rihm]]></category>

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		<description><![CDATA[By Rebecca Schmid The programming of the Berlin Philharmonic, while reportedly having gravitated away from the players’ specialty in German repertoire since Sir Simon Rattle took the reins a decade ago, not only gives equal weight to post-Romantic repertoire but consistently illuminates connections between works which seem disparate at first glance. Andris Nelsons conducted the [...]]]></description>
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