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	<title>Musical America Blogs &#187; Wolfgang Rihm</title>
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		<title>Widmann’s Opera Babylon</title>
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		<pubDate>Fri, 23 Nov 2012 11:15:57 +0000</pubDate>
		<dc:creator>Andrew Powell</dc:creator>
				<category><![CDATA[Munich Times]]></category>
		<category><![CDATA[Alexander Janiczek]]></category>
		<category><![CDATA[András Schiff]]></category>
		<category><![CDATA[Anna Prohaska]]></category>
		<category><![CDATA[Arcanto Quartett]]></category>
		<category><![CDATA[Babylon]]></category>
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		<category><![CDATA[Carlus Padrissa]]></category>
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		<category><![CDATA[Gabriele Schnaut]]></category>
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		<category><![CDATA[Jörg Widmann]]></category>
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		<category><![CDATA[Kai Wessel]]></category>
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		<description><![CDATA[By ANDREW POWELL Published: November 23, 2012 MUNICH — Scorpion-Man prowls the rubble of an unnamed flattened city at the start of Babylon, Jörg Widmann’s new opera, wailing as he moves. We should care. Seven scenes, a Hanging Garden interlude, and three costly theater hours later, he is back, doing his thang over the same [...]]]></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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		<title>Infektion! ‘Europeras 3&amp;4’ and Rihm’s ‘Dionysus’ at the Staatsoper</title>
		<link>http://www.musicalamerica.com/mablogs/?p=6029</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=6029#comments</comments>
		<pubDate>Thu, 12 Jul 2012 17:56:53 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
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		<category><![CDATA[Günther Albers]]></category>
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		<description><![CDATA[By Rebecca Schmid Infektion!, the name of the Staatsoper’s annual Festival for New Music Theater could easily extend to describe the presence of John Cage in Germany this year. No other country outside the U.S. has planned as many events for his centenary of his birth, and Berlin is in some people’s minds already ‘Caged [...]]]></description>
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