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	<title>Musical America Blogs &#187; stefan herheim</title>
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		<title>In Bayreuth, Persisting with the New</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7082</link>
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		<pubDate>Fri, 31 Aug 2012 11:11:17 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[bayreuth festival]]></category>
		<category><![CDATA[Burkhard Fritz]]></category>
		<category><![CDATA[Camilla Nylund]]></category>
		<category><![CDATA[Christian Marthaler]]></category>
		<category><![CDATA[Christian Thielemann]]></category>
		<category><![CDATA[Irène Theorin]]></category>
		<category><![CDATA[katharina wagner]]></category>
		<category><![CDATA[Kwangchul Youn]]></category>
		<category><![CDATA[Michael Nagy]]></category>
		<category><![CDATA[Michele Breedt]]></category>
		<category><![CDATA[Peter Schneider]]></category>
		<category><![CDATA[Philippe Jordan]]></category>
		<category><![CDATA[Robert Dean Smith]]></category>
		<category><![CDATA[Sebastian Baumgarten]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[Susan Maclean]]></category>
		<category><![CDATA[Torsten Kerl]]></category>
		<category><![CDATA[Wolfgang Wagner]]></category>

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		<description><![CDATA[By Rebecca Schmid „Kinder, schaff Neues,“ (Children, create something new) Wagner wrote in an adage frequently quoted by stage directors in Germany. In Bayreuth, 136 years after the founding of his festival, the spirit is alive and well. Provocatively-minded Regietheater, for lack of a better blanket term, has come to stamp the recently installed administration [...]]]></description>
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		<title>Winds of Change at the Komische Oper: ‘Xerxes’ and ‘The Seven Deadly Sins’</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4868</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4868#comments</comments>
		<pubDate>Wed, 23 May 2012 11:31:30 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Andreas Homoki]]></category>
		<category><![CDATA[barrie kosky]]></category>
		<category><![CDATA[Bertold Brecht]]></category>
		<category><![CDATA[Brigitte Geller]]></category>
		<category><![CDATA[Calixto Bieto]]></category>
		<category><![CDATA[Dagmar Manzel]]></category>
		<category><![CDATA[Dimitry Ivashchenko]]></category>
		<category><![CDATA[Edward James]]></category>
		<category><![CDATA[Gesine Völlm]]></category>
		<category><![CDATA[Hagen Matzeit]]></category>
		<category><![CDATA[Handel]]></category>
		<category><![CDATA[Heike Scheele]]></category>
		<category><![CDATA[Julia Giebel]]></category>
		<category><![CDATA[Karolina Gumos]]></category>
		<category><![CDATA[Katarina Bradic]]></category>
		<category><![CDATA[Kings Theater]]></category>
		<category><![CDATA[komische oper]]></category>
		<category><![CDATA[Konrad Jünghanel]]></category>
		<category><![CDATA[Kristiina Poska]]></category>
		<category><![CDATA[Kurt Weill]]></category>
		<category><![CDATA[Lotte Lenya]]></category>
		<category><![CDATA[Manuel Brug]]></category>
		<category><![CDATA[Seven Deadly Sins]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[Stella Doufexis]]></category>
		<category><![CDATA[The Three Penny Opera]]></category>
		<category><![CDATA[Thilo Reinhardt]]></category>
		<category><![CDATA[Xerxes]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4868</guid>
		<description><![CDATA[By Rebecca Schmid The Komische Oper champions a populist approach through German-language productions and contemporary stage concepts that for some opera goers is synonymous with the most vexing of Regietheater. While the emphasis of the company’s founder Walter Felsenstein on living theater above musical purity remains a locally prized virtue, the house’s attendance rate sank [...]]]></description>
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		<title>Water works</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4476</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4476#comments</comments>
		<pubDate>Fri, 06 Apr 2012 06:49:54 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[calixto bieito]]></category>
		<category><![CDATA[la monnaie]]></category>
		<category><![CDATA[meta]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[rusalka]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[webcast]]></category>

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		<description><![CDATA[By James Jorden Most arts-related technology is at least slightly Jekyll-and-Hyde in its implementation, no matter how optimistic the intentions of its creator. For an example of the phenomenon, you need look no farther thafn Robert Lepage&#8216;s Ring, clanking its way back to the stage of the Met this week. Amazing tech, that: all those [...]]]></description>
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		<title>Ring Recycle</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3243</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3243#comments</comments>
		<pubDate>Fri, 18 Nov 2011 22:44:48 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[ann ziff]]></category>
		<category><![CDATA[benedikt von peter]]></category>
		<category><![CDATA[blogs]]></category>
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		<category><![CDATA[bryn terfel]]></category>
		<category><![CDATA[Deborah Voigt]]></category>
		<category><![CDATA[deconstruction]]></category>
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		<category><![CDATA[fabio luisi]]></category>
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		<category><![CDATA[gwyneth jones]]></category>
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		<category><![CDATA[jonas kaufmann]]></category>
		<category><![CDATA[julian crouch]]></category>
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		<category><![CDATA[lehman's syndrome]]></category>
		<category><![CDATA[martin kusej]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[otto schenk]]></category>
		<category><![CDATA[peter gelb]]></category>
		<category><![CDATA[phelim mcdermott]]></category>
		<category><![CDATA[pundits]]></category>
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		<category><![CDATA[richard croft]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[satyagraha]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[the enchanted island]]></category>
		<category><![CDATA[the fortress of solitude]]></category>
		<category><![CDATA[the machine]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[wagner]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3243</guid>
		<description><![CDATA[By James Jorden Now that it has become apparent that Robert Lepage&#8217;s production of the Ring at the Met is a fiasco (too soon? Nah.)&#8230; well, anyway, since arguably the production is a dreary, unworkable, overpriced mess whose primary (perhaps only) virtue is that it actually hasn&#8217;t killed anyone yet, and since, let&#8217;s face it, [...]]]></description>
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		<title>She sees dead people</title>
		<link>http://www.musicalamerica.com/mablogs/?p=954</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=954#comments</comments>
		<pubDate>Thu, 28 Apr 2011 15:52:53 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[alban berg]]></category>
		<category><![CDATA[clowns]]></category>
		<category><![CDATA[deconstruction]]></category>
		<category><![CDATA[gesamtkunstwerk]]></category>
		<category><![CDATA[lighting]]></category>
		<category><![CDATA[lulu]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[realism]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[stefan herheim]]></category>
		<category><![CDATA[symbols]]></category>
		<category><![CDATA[tennessee williams]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[tone rows]]></category>
		<category><![CDATA[vienna school]]></category>
		<category><![CDATA[wooster group]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=954</guid>
		<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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