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	<title>Newcity Stage &#187; Recommended Opera</title>
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	<description>Theater, Dance, Comedy and Performance in Chicago</description>
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		<title>Review: The Yeomen of the Guard/Light Opera Works</title>
		<link>http://newcitystage.com/2010/06/08/review-the-yeomen-of-the-guardlight-opera-works/</link>
		<comments>http://newcitystage.com/2010/06/08/review-the-yeomen-of-the-guardlight-opera-works/#comments</comments>
		<pubDate>Tue, 08 Jun 2010 19:27:08 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Alex Honzen]]></category>
		<category><![CDATA[Colm Fitzmaurice]]></category>
		<category><![CDATA[George Andrew Wolff]]></category>
		<category><![CDATA[Gilbert & Sullivan]]></category>
		<category><![CDATA[Henry VIII]]></category>
		<category><![CDATA[Northwestern University’s Cahn Auditorium]]></category>
		<category><![CDATA[Roger L. Bingaman]]></category>
		<category><![CDATA[Rudy Hogenmiller]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=9424</guid>
		<description><![CDATA[RECOMMENDED There is perhaps no work in the entire Gilbert &#38; Sullivan catalog quite as peculiar as “The Yeomen of the Guard.” The duo’s only attempt at “serious” operetta, “Yeomen” lacks most of the Victorian barbs associated with G&#38;S and instead attempts to give us a tale of unrequited love set against the England of [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Review: Maria la O/Chamber Opera Chicago</title>
		<link>http://newcitystage.com/2010/06/08/review-maria-la-ochamber-opera-chicago/</link>
		<comments>http://newcitystage.com/2010/06/08/review-maria-la-ochamber-opera-chicago/#comments</comments>
		<pubDate>Tue, 08 Jun 2010 12:56:51 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Alfredo Kraus]]></category>
		<category><![CDATA[Alfredo Munar]]></category>
		<category><![CDATA[Barbara Landis]]></category>
		<category><![CDATA[Chamber Opera Chicago]]></category>
		<category><![CDATA[Ensemble Español Spanish Dance Theater]]></category>
		<category><![CDATA[Ernesto Lecuona]]></category>
		<category><![CDATA[Irving Berlin]]></category>
		<category><![CDATA[José Carreras]]></category>
		<category><![CDATA[Michelle Areyzaga]]></category>
		<category><![CDATA[Montserrat Caballé]]></category>
		<category><![CDATA[Pilar Lorengar]]></category>
		<category><![CDATA[Placido Domingo]]></category>
		<category><![CDATA[Ricardo Herrera]]></category>
		<category><![CDATA[Teresa Berganza]]></category>
		<category><![CDATA[The Opera Factory]]></category>
		<category><![CDATA[Victoria de los Angeles]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=9406</guid>
		<description><![CDATA[RECOMMENDED Even if you’ve never heard of Ernesto Lecuona, you doubtless have heard his music. Known as the “Cuban Gershwin,” Lecuona was the original Latin crossover king and a true Renaissance man as a composer, arranger, pianist and band leader who wrote tons of hit songs for movies and stage works that are infectious both [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Review: Jason/Chicago Opera Theater</title>
		<link>http://newcitystage.com/2010/04/26/review-jasonchicago-opera-theater/</link>
		<comments>http://newcitystage.com/2010/04/26/review-jasonchicago-opera-theater/#comments</comments>
		<pubDate>Mon, 26 Apr 2010 22:41:40 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Baroque Band]]></category>
		<category><![CDATA[Brian Dickie]]></category>
		<category><![CDATA[Chicago Opera Theater]]></category>
		<category><![CDATA[Christian Curnyn]]></category>
		<category><![CDATA[Francesco Cavalli]]></category>
		<category><![CDATA[Franco Fagioli]]></category>
		<category><![CDATA[Garry Clarke]]></category>
		<category><![CDATA[Grazia Doronzio]]></category>
		<category><![CDATA[Monteverdi]]></category>
		<category><![CDATA[Mozart]]></category>
		<category><![CDATA[Rene Jacobs]]></category>
		<category><![CDATA[Sasha Cooke]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=8908</guid>
		<description><![CDATA[RECOMMENDED The celebrated music director of a major opera company once admitted to me that he thought that Mozart “invented” opera as we know it. “Never mind all of that Monteverdi nonsense,” he pontificated, the works of whom he admitted he had never seen performed, and as if that was all there was before Mozart. [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>Review: Moses in Egypt/Chicago Opera Theater</title>
		<link>http://newcitystage.com/2010/04/19/review-moses-in-egyptchicago-opera-theater/</link>
		<comments>http://newcitystage.com/2010/04/19/review-moses-in-egyptchicago-opera-theater/#comments</comments>
		<pubDate>Mon, 19 Apr 2010 19:29:14 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Andrea Concetti]]></category>
		<category><![CDATA[Chicago Opera Theater]]></category>
		<category><![CDATA[Leonardo Vordoni]]></category>
		<category><![CDATA[Rossini]]></category>
		<category><![CDATA[Siân Davies]]></category>
		<category><![CDATA[Taylor Stayton]]></category>
		<category><![CDATA[Verdi]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=8814</guid>
		<description><![CDATA[RECOMMENDED The last time that you could have heard Rossini’s “Moses in Egypt” in Chicago was in 1863, when a touring Italian company happened to bring the piece to the McVickers Theatre downtown. The Civil War was raging and we had an Illinois resident with low popularity in the White House by the name of [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Settling Old Scores: Chicago scholar Philip Gossett rescues Rossini for a new era</title>
		<link>http://newcitystage.com/2010/04/12/settling-old-scores-chicago-scholar-philip-gossett-rescues-rossini-for-a-new-era/</link>
		<comments>http://newcitystage.com/2010/04/12/settling-old-scores-chicago-scholar-philip-gossett-rescues-rossini-for-a-new-era/#comments</comments>
		<pubDate>Mon, 12 Apr 2010 21:40:05 +0000</pubDate>
		<dc:creator>brianhey</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Ardis Krainik]]></category>
		<category><![CDATA[Brian Dickie]]></category>
		<category><![CDATA[Cavaliere di Gran Croce]]></category>
		<category><![CDATA[Cecil B. DeMille]]></category>
		<category><![CDATA[Cecilia Bartoli]]></category>
		<category><![CDATA[Chicago Opera Theater]]></category>
		<category><![CDATA[Chris Merritt]]></category>
		<category><![CDATA[Gioachino Rossini]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Marilyn Horne]]></category>
		<category><![CDATA[Philip Gossett]]></category>
		<category><![CDATA[Rockwell Blake]]></category>
		<category><![CDATA[Samuel Ramey]]></category>
		<category><![CDATA[William Mason]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=8698</guid>
		<description><![CDATA[By Dennis Polkow For many of the even most seasoned opera goers, Gioachino Rossini was thought of as a “one-hit wonder.” “It’s true,” agrees Italian opera scholar and University of Chicago professor Philip Gossett. “For a very long time, ‘The Barber of Seville’ was the only Rossini opera you got to hear consistently in America. [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: Winterreise/Chicago Opera Vanguard</title>
		<link>http://newcitystage.com/2010/03/15/review-winterreisechicago-opera-vanguard/</link>
		<comments>http://newcitystage.com/2010/03/15/review-winterreisechicago-opera-vanguard/#comments</comments>
		<pubDate>Mon, 15 Mar 2010 22:16:27 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[World Premiere]]></category>
		<category><![CDATA[Brad Jungwirth]]></category>
		<category><![CDATA[Chicago Opera Vanguard]]></category>
		<category><![CDATA[Eric Reda]]></category>
		<category><![CDATA[Myron Silberstein]]></category>
		<category><![CDATA[Schubert]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=8368</guid>
		<description><![CDATA[RECOMMENDED As every art singer and lieder lover knows, Schubert’s “Winterreise” (“Winter’s Journey”) is indeed a journey, an epic narrative that depends on the singer and the pianist to “tell” its story over twenty-four songs. So why not make this explicit and actually “stage” what is going on in the text and music?  That is [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: The Marriage of Figaro/Lyric Opera</title>
		<link>http://newcitystage.com/2010/03/08/review-the-marriage-of-figarolyric-opera/</link>
		<comments>http://newcitystage.com/2010/03/08/review-the-marriage-of-figarolyric-opera/#comments</comments>
		<pubDate>Mon, 08 Mar 2010 18:45:06 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Andrea Silvestrelli]]></category>
		<category><![CDATA[Anne Schwanewilms]]></category>
		<category><![CDATA[Civic Opera House]]></category>
		<category><![CDATA[Danielle De Niese]]></category>
		<category><![CDATA[Edward Gardner]]></category>
		<category><![CDATA[English National Opera]]></category>
		<category><![CDATA[Herbert Kellner]]></category>
		<category><![CDATA[Joyce DiDonato]]></category>
		<category><![CDATA[Kenneth von Heidecke]]></category>
		<category><![CDATA[Kyle Ketelsen]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Mariusz Kwiechien]]></category>
		<category><![CDATA[Mozart]]></category>
		<category><![CDATA[Sir Andrew Davis]]></category>
		<category><![CDATA[Sir Peter Hall]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=8295</guid>
		<description><![CDATA[RECOMMENDED Sir Peter Hall’s stellar production of Mozart’s “The Marriage of Figaro” has been a regular visitor here since Lyric first premiered it back in 1987. For the first time, however, Hall himself did not make the trip to direct, and so Herbert Kellner took over the reigns, adding much freshness in the process. British [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Review: The Damnation of Faust/Lyric Opera</title>
		<link>http://newcitystage.com/2010/02/22/review-the-damnation-of-faustlyric-opera/</link>
		<comments>http://newcitystage.com/2010/02/22/review-the-damnation-of-faustlyric-opera/#comments</comments>
		<pubDate>Mon, 22 Feb 2010 18:29:57 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Aaron Copland]]></category>
		<category><![CDATA[Anima-Young Singers of Greater Chicago]]></category>
		<category><![CDATA[Berlioz]]></category>
		<category><![CDATA[Chicago Symphony Orchestra]]></category>
		<category><![CDATA[David Lynch]]></category>
		<category><![CDATA[Donald Nally]]></category>
		<category><![CDATA[George Souglides]]></category>
		<category><![CDATA[Gilbert & Sullivan]]></category>
		<category><![CDATA[Glen Ellyn Children’s Chorus]]></category>
		<category><![CDATA[John Boesche]]></category>
		<category><![CDATA[John Relyea]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Lyric Opera Chorus]]></category>
		<category><![CDATA[Lyric Opera Orchestra]]></category>
		<category><![CDATA[Mendelssohn]]></category>
		<category><![CDATA[Paul Groves]]></category>
		<category><![CDATA[Philippe Giraudeau]]></category>
		<category><![CDATA[Rossini]]></category>
		<category><![CDATA[Sir Andrew Davis]]></category>
		<category><![CDATA[Solti]]></category>
		<category><![CDATA[Stephen Langidge]]></category>
		<category><![CDATA[Susan Graham]]></category>
		<category><![CDATA[Wagner]]></category>
		<category><![CDATA[Wolfgang Göbbel]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=8191</guid>
		<description><![CDATA[RECOMMENDED Aaron Copland used to routinely credit Berlioz for having virtually created the modern symphony orchestra.  Until Berlioz, composers wrote for orchestra as if it were basically an enlarged string quartet with winds used for timbral contrast and with strings and winds having very separate and clearly identifiable roles. It’s as if composers had only [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Review: The Elixir of Love/Lyric Opera</title>
		<link>http://newcitystage.com/2010/02/02/review-the-elixir-of-lovelyric-opera/</link>
		<comments>http://newcitystage.com/2010/02/02/review-the-elixir-of-lovelyric-opera/#comments</comments>
		<pubDate>Tue, 02 Feb 2010 16:48:49 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Alessandro Corbelli]]></category>
		<category><![CDATA[Bruno Campanella]]></category>
		<category><![CDATA[Civic Opera House]]></category>
		<category><![CDATA[Donizetti]]></category>
		<category><![CDATA[Gabriele Viviani]]></category>
		<category><![CDATA[Giuseppe Filianoti]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Nicole Cabell]]></category>
		<category><![CDATA[Pavarotti]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=7903</guid>
		<description><![CDATA[RECOMMENDED Who would have thought that this silly opera buffa of the bel canto era would end up being one of the highlights of the current Lyric Opera season?  Donizetti’s “The Elixir of Love” is one of those works that endures primarily because of its rapturous melodies. Its far-fetched “plot,” such as it is—an illiterate [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: Tosca/Lyric Opera</title>
		<link>http://newcitystage.com/2010/01/11/review-toscalyric-opera-2/</link>
		<comments>http://newcitystage.com/2010/01/11/review-toscalyric-opera-2/#comments</comments>
		<pubDate>Mon, 11 Jan 2010 21:40:36 +0000</pubDate>
		<dc:creator>Dennis Polkow</dc:creator>
				<category><![CDATA[Opera]]></category>
		<category><![CDATA[Opera Reviews]]></category>
		<category><![CDATA[Recommended Opera]]></category>
		<category><![CDATA[Civic Opera House]]></category>
		<category><![CDATA[Lucio Gallo]]></category>
		<category><![CDATA[Lyric Opera]]></category>
		<category><![CDATA[Marco Berti]]></category>
		<category><![CDATA[Puccini]]></category>
		<category><![CDATA[Sir Andrew Davis]]></category>
		<category><![CDATA[Verdi]]></category>
		<category><![CDATA[Violeta Urmana]]></category>

		<guid isPermaLink="false">http://newcitystage.com/?p=7610</guid>
		<description><![CDATA[RECOMMENDED The second time is the charm, as it turns out, with Puccini’s “Tosca.” The Italian warhorse, the most-often performed opera in Lyric Opera history, opened the season last September full of stars thoroughly miscast in Puccini’s melodrama. Happily, this time around, ironically with a “B” cast, things are much better in virtually every respect. [...]]]></description>
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		<slash:comments>0</slash:comments>
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