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	<title>Musical America Blogs &#187; realism</title>
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		<title>Plonk</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7610</link>
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		<pubDate>Sun, 30 Sep 2012 06:06:57 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[anna netrebko]]></category>
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		<category><![CDATA[Mariusz Kwiecien]]></category>
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		<category><![CDATA[opera]]></category>
		<category><![CDATA[realism]]></category>
		<category><![CDATA[Robert Wilson]]></category>
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		<description><![CDATA[By James Jorden Of hundreds of juicy anecdotes in Ken Mandelbaum’s indispensable volume Not Since Carrie: 40 Years of Broadway Flops, one stands out perhaps a little more than the others. It’s about a show called Reuben Reuben which closed out of town in 1955. This was a through-composed absurdist piece by Mark Blitzstein, and [...]]]></description>
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		<title>She sees dead people</title>
		<link>http://www.musicalamerica.com/mablogs/?p=954</link>
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		<pubDate>Thu, 28 Apr 2011 15:52:53 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
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		<category><![CDATA[vienna school]]></category>
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		<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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		<title>Regie in its natural habitat</title>
		<link>http://www.musicalamerica.com/mablogs/?p=940</link>
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		<pubDate>Tue, 19 Apr 2011 21:23:38 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
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		<category><![CDATA[journey of a thousand miles]]></category>
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		<category><![CDATA[realism]]></category>
		<category><![CDATA[regie]]></category>
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		<category><![CDATA[staatsoper stuttgart]]></category>
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		<description><![CDATA[By James Jorden The Staatsoper Stuttgart may be called the cradle of Regietheater, or at least a cradle of Regietheater. Strong theatrical values have characterized this company from the opening of the theater in 1912 (the world premiere of Ariadne auf Naxos, helmed by megaregisseur Max Reinhardt) through the 1950s, when Wieland Wagner&#8217;s frequent projects [...]]]></description>
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		<title>The One-Eyed Man</title>
		<link>http://www.musicalamerica.com/mablogs/?p=754</link>
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		<pubDate>Thu, 04 Nov 2010 20:34:35 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[alden]]></category>
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		<category><![CDATA[financial times]]></category>
		<category><![CDATA[glimmerglass]]></category>
		<category><![CDATA[leonard bernstein]]></category>
		<category><![CDATA[new york city opera]]></category>
		<category><![CDATA[new york observer]]></category>
		<category><![CDATA[norma desmond]]></category>
		<category><![CDATA[quiet place]]></category>
		<category><![CDATA[realism]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[stephen wadsworth]]></category>

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		<description><![CDATA[By James Jorden The New York City Opera’s production of the Bernstein/Wadsworth A Quiet Place won what are called &#8220;mixed&#8221; reviews. A few critics hosannaed “Thanks be to Great God Lenny for smooching us once more with his plump, moist genius,” but the majority echoed Cecil B. DeMille’s tactful reaction to Norma Desmond’s bizarre comeback [...]]]></description>
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