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	<title>Musical America Blogs &#187; verdi</title>
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		<title>&#8220;Trick or Treat?&#8221;</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8054</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8054#comments</comments>
		<pubDate>Thu, 01 Nov 2012 14:46:29 +0000</pubDate>
		<dc:creator>Frankster</dc:creator>
				<category><![CDATA[An American in Paris]]></category>
		<category><![CDATA[Berlioz]]></category>
		<category><![CDATA[Cesar Franck]]></category>
		<category><![CDATA[Christian Arming]]></category>
		<category><![CDATA[Le Nozzi di Figaro]]></category>
		<category><![CDATA[Liege Royal Philharmonic Orchestra]]></category>
		<category><![CDATA[Luc Van Hove]]></category>
		<category><![CDATA[Macbeth]]></category>
		<category><![CDATA[Mascagni]]></category>
		<category><![CDATA[Nabucco]]></category>
		<category><![CDATA[Paolo Arrivabeni]]></category>
		<category><![CDATA[Royal Opera of Wallonia]]></category>
		<category><![CDATA[Sophie Karthäuser]]></category>
		<category><![CDATA[Stradella]]></category>
		<category><![CDATA[Va Pensiero]]></category>
		<category><![CDATA[verdi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8054</guid>
		<description><![CDATA[By: Frank Cadenhead It was Halloween night. I should have expected something. The Belgians were in town to show off their musical muscle and brought both the Liege Royal Philharmonic Orchestra and the Chorus and Orchestra of the Royal Opera of Wallonia. Belgium’s lower half is called Wallonia. They speak French and Liege is the [...]]]></description>
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		<title>Angela Meade makes Berlin Debut; Peaches takes Opera Underground</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4796</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4796#comments</comments>
		<pubDate>Fri, 11 May 2012 12:02:15 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Armin Gramer]]></category>
		<category><![CDATA[Daniel Cramer]]></category>
		<category><![CDATA[Deutsche Oper]]></category>
		<category><![CDATA[Ensemble Kaleidoskop]]></category>
		<category><![CDATA[Guillermo Garcia Calvo]]></category>
		<category><![CDATA[HAU1]]></category>
		<category><![CDATA[I Due Foscari]]></category>
		<category><![CDATA[james jorden]]></category>
		<category><![CDATA[Leo Nucci]]></category>
		<category><![CDATA[Mascha Mazur]]></category>
		<category><![CDATA[Monteverdi]]></category>
		<category><![CDATA[Olof Borman]]></category>
		<category><![CDATA[Orfeo]]></category>
		<category><![CDATA[Peaches]]></category>
		<category><![CDATA[Ramon Vargas]]></category>
		<category><![CDATA[Roberto Rizzi Brignoli]]></category>
		<category><![CDATA[Sabine Neumann]]></category>
		<category><![CDATA[Tagesspiegel]]></category>
		<category><![CDATA[Timo Kreuser]]></category>
		<category><![CDATA[Ulrike Schwab]]></category>
		<category><![CDATA[verdi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4796</guid>
		<description><![CDATA[By Rebecca Schmid The Deutsche Oper maintains a dedicated West Berlin following not only for its provocative stagings but sober concert operas showcasing star singers. Of nine “premieres” this season, four are in concert, and in the best scenario feature works known for their dramaturgical weaknesses. The house claimed in a press conference last season [...]]]></description>
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		<title>Finding the Right Gimmick</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4184</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4184#comments</comments>
		<pubDate>Wed, 14 Mar 2012 16:01:21 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alex ross]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[BBC]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[chamber music]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[Leinsdorf]]></category>
		<category><![CDATA[leon botstein]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[verdi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4184</guid>
		<description><![CDATA[by Sedgwick Clark Shaham’s 1939 Dark Horse Gil Shaham had an epiphany. After years of recognition as one of the brightest young lights of the concert circuit, the Israeli-American violinist conjured one of the most imaginative programming concepts in years. He had been struck by how many violin concertos written in the 1930s had entered [...]]]></description>
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		<title>Peter&#8217;s Principles</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3167</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3167#comments</comments>
		<pubDate>Fri, 04 Nov 2011 20:13:00 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[anna netrebko]]></category>
		<category><![CDATA[james jorden]]></category>
		<category><![CDATA[leonard bernstein]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[music director]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[period costume]]></category>
		<category><![CDATA[peter gelb]]></category>
		<category><![CDATA[pr]]></category>
		<category><![CDATA[richard wagner]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[Street Car Named Desire]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[verdi]]></category>
		<category><![CDATA[willy decker]]></category>
		<category><![CDATA[Zurich]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3167</guid>
		<description><![CDATA[by James Jorden “I&#8217;ve almost come to the conclusion that this Mr. Hitler isn&#8217;t a Christian,” muses merry murderess Abby Brewster early in the first act of Arsenic and Old Lace, and to tell the truth I’m beginning to think I’m almost as far behind the curve as she was. Recent new productions at the [...]]]></description>
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		<title>To boo?</title>
		<link>http://www.musicalamerica.com/mablogs/?p=794</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=794#comments</comments>
		<pubDate>Fri, 31 Dec 2010 22:34:32 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[la traviata]]></category>
		<category><![CDATA[regie]]></category>
		<category><![CDATA[the met]]></category>
		<category><![CDATA[verdi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=794</guid>
		<description><![CDATA[By James Jorden The opening of a new production of La Traviata at the Met tonight offers an ideal opportunity to address a fact of modern operatic life, the booing, apparently reflexive, of the director and production team at the first night&#8217;s curtain call. Now, booing and other expressions of disapproval have a long history [...]]]></description>
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		<title>Time Bandits</title>
		<link>http://www.musicalamerica.com/mablogs/?p=765</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=765#comments</comments>
		<pubDate>Fri, 12 Nov 2010 16:37:05 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[bizet]]></category>
		<category><![CDATA[carmen]]></category>
		<category><![CDATA[david mcvicar]]></category>
		<category><![CDATA[elina garanca]]></category>
		<category><![CDATA[goya]]></category>
		<category><![CDATA[il trovatore]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[richard eyre]]></category>
		<category><![CDATA[verdi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=765</guid>
		<description><![CDATA[By James Jorden When stage directors decide to intervene (as opposed to merely curating) there are a number of approaches they can take: deconstruction, gloss on the text, invention of an entirely new narrative. Or they can take the somewhat safer route of changing the epoch of the action, setting La bohème during World War [...]]]></description>
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