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	<title>Musical America Blogs &#187; Rebecca Schmid</title>
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		<title>An Italian, and possibly a Swiss, Symphony at the Philharmonie</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9149</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9149#comments</comments>
		<pubDate>Fri, 11 Jan 2013 16:00:13 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Andreas Ottensamer]]></category>
		<category><![CDATA[Berlin Philharmonic]]></category>
		<category><![CDATA[bruckner]]></category>
		<category><![CDATA[Daishin Kashimoto]]></category>
		<category><![CDATA[Dvorak]]></category>
		<category><![CDATA[Gauguin]]></category>
		<category><![CDATA[Mendelssohn]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[Philharmonie]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Riccardo Chailly]]></category>
		<category><![CDATA[Switzerland]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9149</guid>
		<description><![CDATA[By Rebecca Schmid Journeys have provided powerful inspiration to writers, painters and composers alike, opening eyes to new ways of seeing the world. The broadening of artists’ palettes has sometimes allowed them to capture a landscape more vividly than the natives could themselves. One only has to think of Dvorak’s New World Symphony, Gauguin’s portraits [...]]]></description>
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		<title>‘Mahlermania’ at the Deutsche Oper’s new Tischlerei</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8578</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8578#comments</comments>
		<pubDate>Fri, 30 Nov 2012 10:05:07 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alma Mahler]]></category>
		<category><![CDATA[Anna-Luise Recke]]></category>
		<category><![CDATA[Annedore Kleist]]></category>
		<category><![CDATA[Deutsche Oper]]></category>
		<category><![CDATA[Frank Willens]]></category>
		<category><![CDATA[Gustav Mahler]]></category>
		<category><![CDATA[Katarina Bradic]]></category>
		<category><![CDATA[Mahlermania]]></category>
		<category><![CDATA[Moritz Gnann]]></category>
		<category><![CDATA[Nico and the Navigators]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Simon Pauly]]></category>
		<category><![CDATA[Tischlerei]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8578</guid>
		<description><![CDATA[By Rebecca Schmid In the final scenes of Mahlermania, a ‘dramatic fantasy with music by Gustav Mahler’ conceived by the troupe Nico and the Navigators in cooperation with the Deutsche Oper to inaugurate the West Berlin opera house’s new alternative stage Tischlerei on November 27, manuscript paper and fur coats scatter across the stage in [...]]]></description>
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		<title>&#8216;Le Boeuf sur le Toit&#8217; recreates 1920s Parisian Club</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8364</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8364#comments</comments>
		<pubDate>Fri, 23 Nov 2012 12:24:12 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Alexandre Tharaud]]></category>
		<category><![CDATA[Bénabar]]></category>
		<category><![CDATA[Chanel]]></category>
		<category><![CDATA[Clément Doucet]]></category>
		<category><![CDATA[Cole Porter]]></category>
		<category><![CDATA[Darius Milhaud]]></category>
		<category><![CDATA[David Chevallier]]></category>
		<category><![CDATA[EMI]]></category>
		<category><![CDATA[Florent Jodelet]]></category>
		<category><![CDATA[Frank Braley]]></category>
		<category><![CDATA[George Gershwin]]></category>
		<category><![CDATA[Guillaume Gallienne]]></category>
		<category><![CDATA[Jean Cocteau]]></category>
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		<category><![CDATA[Jean Wiéner]]></category>
		<category><![CDATA[Juliette]]></category>
		<category><![CDATA[Le Boeuf sur le Toit]]></category>
		<category><![CDATA[Les Six]]></category>
		<category><![CDATA[Madeleine Peyroux]]></category>
		<category><![CDATA[Maurice Chevalier]]></category>
		<category><![CDATA[Nathalie Dessay]]></category>
		<category><![CDATA[Picasso]]></category>
		<category><![CDATA[Pleyel]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[Virgin Classics]]></category>
		<category><![CDATA[William Christopher Handy]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8364</guid>
		<description><![CDATA[By Rebecca Schmid The eclectic musical life of the brief but thriving ‘Roaring twenties’ continues to inspire a nostalgia that is all the more understandable given contemporary classical music’s reorientation toward popular idioms from techno to rock. The latest album of French pianist Alexandre Tharaud, Le Boeuf sur le Toit, sets out to recreate the [...]]]></description>
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		<title>‘The Magic Flute’ regains its Classical Garb</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8286</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8286#comments</comments>
		<pubDate>Fri, 16 Nov 2012 13:37:44 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Adriane Queiroz]]></category>
		<category><![CDATA[Alina Anca]]></category>
		<category><![CDATA[Anna Lapkovskaja]]></category>
		<category><![CDATA[August Everding]]></category>
		<category><![CDATA[Aurelius Sängerknaben]]></category>
		<category><![CDATA[Carola Höhn]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[Die Zauberflöte]]></category>
		<category><![CDATA[Emmanuel Schikaneder]]></category>
		<category><![CDATA[Friedrich Wilhelm]]></category>
		<category><![CDATA[Julien Salemkour]]></category>
		<category><![CDATA[Karl Friedrich Schinkel]]></category>
		<category><![CDATA[Konzerthaus Berlin]]></category>
		<category><![CDATA[Kyungho Kim]]></category>
		<category><![CDATA[Narine Yeghiyan]]></category>
		<category><![CDATA[Pavol Breslik]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[René Pape]]></category>
		<category><![CDATA[Roman Trekel]]></category>
		<category><![CDATA[Rowan Hellier]]></category>
		<category><![CDATA[Schiller Theater]]></category>
		<category><![CDATA[Staatskapelle Berlin]]></category>
		<category><![CDATA[Staatsoper Berlin]]></category>
		<category><![CDATA[The Magic Flute]]></category>
		<category><![CDATA[W.A. Mozart]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8286</guid>
		<description><![CDATA[By Rebecca Schmid As Regietheater becomes the norm on opera stages in Germany, it is a pleasant, if not shocking, surprise to see a production of Die Zauberflöte that looks like a throwback to the time of its world premiere. The Staatsoper Berlin has revived a 1994 staging modelled after designs by the nineteenth-century Prussian [...]]]></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>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7995</guid>
		<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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		<title>&#8216;Lulu&#8217; as post-racial Manifesto</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7785</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7785#comments</comments>
		<pubDate>Fri, 12 Oct 2012 08:54:50 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[alban berg]]></category>
		<category><![CDATA[American Lulu]]></category>
		<category><![CDATA[barrie kosky]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Claudio Otelli]]></category>
		<category><![CDATA[David Robert Coleman]]></category>
		<category><![CDATA[Della Miles]]></category>
		<category><![CDATA[Elena Kats-Chernin]]></category>
		<category><![CDATA[Gonduras Jitomirksky]]></category>
		<category><![CDATA[Jacques-Greg Belobo]]></category>
		<category><![CDATA[Johannes Kalitzke]]></category>
		<category><![CDATA[Kirill Serebrennikov]]></category>
		<category><![CDATA[komische oper]]></category>
		<category><![CDATA[lulu]]></category>
		<category><![CDATA[Marisol Montalvo]]></category>
		<category><![CDATA[Olga Neuwirth]]></category>
		<category><![CDATA[Philipp Meierhöfer]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Rolf Romei]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7785</guid>
		<description><![CDATA[By Rebecca Schmid The socially aware agenda of the Komische Oper’s new Intendant Barrie Kosky has been ruffling the feathers of Berliners months before he officially took over this season, not least with the decision to end the house tradition of performing operas exclusively in the German language. His emphasis on cultural pluralism aside, the [...]]]></description>
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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>
		<category><![CDATA[Bartlett Sher]]></category>
		<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>
		<category><![CDATA[Maurizio Benini]]></category>
		<category><![CDATA[Met Museum]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[Michael Yeargan]]></category>
		<category><![CDATA[Missy Mazzoli]]></category>
		<category><![CDATA[MONO]]></category>
		<category><![CDATA[NPR]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Worldless Music Orchestra]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7624</guid>
		<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>New York Rites</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7453</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7453#comments</comments>
		<pubDate>Fri, 21 Sep 2012 17:11:32 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Boulez]]></category>
		<category><![CDATA[Ives]]></category>
		<category><![CDATA[Kurtag]]></category>
		<category><![CDATA[Leif Ove Andsnes]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Stockhausen]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[The Rite of Spring]]></category>
		<category><![CDATA[Vaslav Nijinsky]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7453</guid>
		<description><![CDATA[By Rebecca Schmid In Berlin, where contemporary music thrives from the Philharmonie to off spaces, it is a widespread perception that New York’s mainstream institutions are afraid to program anything past Stravinsky. A look at Alan Gilbert’s recent undertakings with the New York Philharmonic, notably in a hugely successful “360” concert of Mozart, Stockhausen, Boulez [...]]]></description>
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