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	<title>Berkshire Review, an International Journal for the Arts &#187; Summer Retrospective</title>
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	<description>Classical Music, Opera, Theatre, Photography, Art</description>
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	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
	<itunes:explicit>no</itunes:explicit>
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		<itunes:name>Berkshire Review, an International Journal for the Arts</itunes:name>
		<itunes:email>editor@berkshirereview.net</itunes:email>
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	<managingEditor>editor@berkshirereview.net (Berkshire Review, an International Journal for the Arts)</managingEditor>
	<copyright>&#xA9; 2010 Michael Miller</copyright>
	<itunes:subtitle>A Podcast from the Berkshire Review for the Arts</itunes:subtitle>
	<itunes:keywords>classical music, opera, theatre, dance, art, photography, literature, travel, food, wine</itunes:keywords>
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		<title>Berkshire Review, an International Journal for the Arts &#187; Summer Retrospective</title>
		<url>http://www.berkshirereview.net/images/BRbloglogo.jpg</url>
		<link>http://berkshirereview.net/category/summer-retrospective-huntley-dent-michael-miller/</link>
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	<itunes:category text="Arts" />
	<itunes:category text="Music" />
	<itunes:category text="Arts">
		<itunes:category text="Performing Arts" />
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		<item>
		<title>Katharina Wagner&#8217;s Die Meistersinger, now in its Fourth Year at Bayreuth</title>
		<link>http://berkshirereview.net/2010/10/katharina-wagner-meistersinger-bayreuth/</link>
		<comments>http://berkshirereview.net/2010/10/katharina-wagner-meistersinger-bayreuth/#comments</comments>
		<pubDate>Fri, 08 Oct 2010 17:56:41 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[At the Bayreuth Festival]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Bayreuther Festspiele]]></category>
		<category><![CDATA[James Rutherford]]></category>
		<category><![CDATA[Katharina Wagner]]></category>
		<category><![CDATA[Klaus Florian Vogt]]></category>
		<category><![CDATA[Michaela Kaune]]></category>
		<category><![CDATA[Richard Wagner]]></category>
		<category><![CDATA[Sebastian Weigle]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8024</guid>
		<description><![CDATA[I won't even say that I wish that, in beginning with Katharina Wagner's production of Die Meistersinger, I was starting on a cheerful note. Nothing of the kind. Katharina has studiously avoided her great grandfather's romanticized Nürnberg, where great artistic, literary, and musical achievement lurked around every corner, where the citizens dressed colorfully, where the men engaged in witty exchanges, while the girls joyfully gave themselves over the dancing, if not to their young men, at every opportunity. She has, rather, chosen to focus on the repressive nature of this conservative society, as embodied in the guild system, the obsessive power of routine in daily life, its neuroses, and, yes, its nightmares. Having a certain penchant for black humor and oddity, I entered with pleasure into my five-hour visit to this frightening and pitiable world, and I laughed, quite a bit, which, I should hope, is the desired result of any Meistersinger production. If my laughter was a trifle sour at times, it's not entirely alien from the sarcastic wit of Wagner's libretto. Hence, I am pleased to say that Katharina Wagner won her war, buoyed up by a splendid vocal, orchestral, and comedic performance, which had its own vigorous life, no matter how strange the goings-on on stage. And, if one is open-minded enough not to resist these, one can expect to gain a fair bit of insight into human nature, history, and Richard Wagner's comic masterpiece.]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Rembrandt in London: Close Examination: Fakes, Mistakes and Discoveries at the National Gallery</title>
		<link>http://berkshirereview.net/2010/09/rembrandt-close-examination-fakes-mistakes-discoveries-national-gallery-london/</link>
		<comments>http://berkshirereview.net/2010/09/rembrandt-close-examination-fakes-mistakes-discoveries-national-gallery-london/#comments</comments>
		<pubDate>Sun, 05 Sep 2010 22:24:25 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[connoisseurship]]></category>
		<category><![CDATA[National Gallery of Art]]></category>
		<category><![CDATA[Rembrandt]]></category>
		<category><![CDATA[Royal Collection]]></category>
		<category><![CDATA[Wallace Collection]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7719</guid>
		<description><![CDATA[Fortune and men’s eyes. Rembrandt, like Beethoven, has had the good fortune of familiarity breeding deeper admiration. Contempt was never a possibility. The same can’t be said for Raphael and Rubens, who have suffered scorn — and still do — interspersed with worship. But there has never been a masterpiece by Beethoven that was later attributed to a much lesser composer like Czerny or Spohr, while this happens regularly to Rembrandt. London is one of the great storehouses of Rembrandt paintings, along with New York and Amsterdam, and one can find works here that were lauded in the past but now are relegated to Gerard Dou (who?) or Jan Lievens (never heard of him). Among art experts both are respectable craftsmen, perhaps far better than that, but footnotes to a footnote when it comes to a titan like Rembrandt.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/09/rembrandt-close-examination-fakes-mistakes-discoveries-national-gallery-london/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Hell on Earth and Hell Beyond: the Kronos Quartet in Usher Hall</title>
		<link>http://berkshirereview.net/2010/08/kronos-quartet-edinburgh-festival-vrebalov-reich-crumb/</link>
		<comments>http://berkshirereview.net/2010/08/kronos-quartet-edinburgh-festival-vrebalov-reich-crumb/#comments</comments>
		<pubDate>Sun, 29 Aug 2010 16:35:14 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[At the Edinburgh Festival]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Aleksandra Vrebalov]]></category>
		<category><![CDATA[Edinburgh International Festival]]></category>
		<category><![CDATA[George Crumb]]></category>
		<category><![CDATA[Kronos Quartet]]></category>
		<category><![CDATA[Steve Reich]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7639</guid>
		<description><![CDATA[The greatest surprise in the Kronos Quartet's concert at Usher Hall was that this was their very first appearance at the Edinburgh Festival. I'd have thought that they'd be regulars going back many years, given their well-known mixture of daring repertory and popular appeal. For almost forty years now, they have achieved almost cult status by playing a certain kind of contemporary music: challenging works which demand concentration but which are sufficiently colorful and aggressive that they commandeer the audience's attention from start to finish. ]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/kronos-quartet-edinburgh-festival-vrebalov-reich-crumb/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>David Robertson, BBC Proms 2010</title>
		<link>http://berkshirereview.net/2010/08/robertson-bbc-proms/</link>
		<comments>http://berkshirereview.net/2010/08/robertson-bbc-proms/#comments</comments>
		<pubDate>Sun, 29 Aug 2010 02:10:41 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[BBC Proms]]></category>
		<category><![CDATA[David Robertson]]></category>
		<category><![CDATA[Samuel Barber]]></category>
		<category><![CDATA[Sibelius]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7626</guid>
		<description><![CDATA[The buddy system. Last night’s Prom was as close to an all-smiles evening as one could hope for with rain pouring down all day. David Robertson, although known as a champion of contemporary music,  programmed two easy pieces, the Barber Violin Concerto, which is about as challenging as a box of caramels (very delicious caramels) and the Sibelius Second Symphony, a sure-fire hit in Nordic-friendly Britain. There are so many stories of promising American conductors who falter in middle age (Robertson turned 52 last month) that I was eager to hear him a second time. The first  was with the Boston Symphony some years ago. Before I register my impressions, however, there’s a spic-and-span back story to his career — apparently this man has left behind him a trail of good will wherever he goes. He looks fit and friendly, with flat gray hair and the long face of a Yankee banker sitting for a Copley portrait. Born and raised in Malibu — not an arduous beginning, one assumes — Robertson was educated at the Royal Academy of Music. This tie to London glided into becoming the chief guest conductor of the BBC Symphony, which he presided over last night with happy faces all around. Robertson even entered the thorny patch that is the Ensemble Intercomtemporain in Paris and was cheered on despite having no ties to its founder, the formidable Pierre Boulez. Robertson preferred to conduct John Adams instead, and he got away with it.]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Mozart’s Idomeneo with Sir Roger Norrington and the Scottish Chamber Orchestra at the Edinburgh International Festival</title>
		<link>http://berkshirereview.net/2010/08/mozart-idomeneo-norrington-and-sco-edinburgh-festival/</link>
		<comments>http://berkshirereview.net/2010/08/mozart-idomeneo-norrington-and-sco-edinburgh-festival/#comments</comments>
		<pubDate>Sat, 28 Aug 2010 12:07:13 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[At the Edinburgh Festival]]></category>
		<category><![CDATA[Opera]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Edinburgh]]></category>
		<category><![CDATA[Joyce di Donato]]></category>
		<category><![CDATA[Mozart]]></category>
		<category><![CDATA[Scottish Chamber Orchestra]]></category>
		<category><![CDATA[Sir Charles Mackerras]]></category>
		<category><![CDATA[Sir Roger Norrington]]></category>
		<category><![CDATA[Usher Hall]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7622</guid>
		<description><![CDATA[Certainly one of the happiest events in the expansion of the classical repertoire in the later twentieth century has been the discovery of Mozart's first operatic masterpiece, Idomeneo, rè di Creta. Often I think it may be my favorite...until I really start thinking seriously about Don Giovanni and Le Nozze di Figaro, but I can say that I feel a special passion for Idomeneo. When one reads about the conductors who have brought it into its still admittedly somewhat intermittent place in the repertory of major opera houses — first among whom is Sir Colin Davis, their passion for the work is always in the foreground. The opera itself is passionate. Mozart clearly responded strongly to the libretto, and this passion is infectious.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/mozart-idomeneo-norrington-and-sco-edinburgh-festival/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>The View from Usher Hall, Edinburgh</title>
		<link>http://berkshirereview.net/2010/08/usher-hall-edinburgh-festival/</link>
		<comments>http://berkshirereview.net/2010/08/usher-hall-edinburgh-festival/#comments</comments>
		<pubDate>Thu, 26 Aug 2010 21:47:59 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[At the Edinburgh Festival]]></category>
		<category><![CDATA[Commentary]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Cleveland Orchestra]]></category>
		<category><![CDATA[Edinburgh International Festival]]></category>
		<category><![CDATA[franz Welser-Möst]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7585</guid>
		<description><![CDATA[Our first Edinburgh Festival and our first visit to Usher Hall opened with a delightful surprise. We didn’t have to get very far into Mozart’s Idomeneo for me to realize that the acoustics of the hall are surpassingly beautiful. The Scottish Chamber Orchestra, playing period instruments, and the singers floated in a warm acoustic atmosphere, but the sound was also direct and present, so that the attacks of strings and brass and the fleeting nuances of the human voice were as clear as you could want them to be. Our seats were also several rows in the Grand Circle and well covered by the level above. In most halls the sound becomes rather muffled in that kind of situation, but, when I noticed that I was surrounded by fellow critics, I assumed that the Festival media representatives knew what they were doing. More importantly I loved what I heard.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Montezuma at the Edinburgh International Festival</title>
		<link>http://berkshirereview.net/2010/08/montezuma-at-the-edinburgh-international-festival/</link>
		<comments>http://berkshirereview.net/2010/08/montezuma-at-the-edinburgh-international-festival/#comments</comments>
		<pubDate>Sat, 21 Aug 2010 17:22:23 +0000</pubDate>
		<dc:creator>Eliot Vivante</dc:creator>
				<category><![CDATA[At the Edinburgh Festival]]></category>
		<category><![CDATA[Opera]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Baroque Opera]]></category>
		<category><![CDATA[Carl Heinrich Graun]]></category>
		<category><![CDATA[Claudio Valdés Kuri]]></category>
		<category><![CDATA[Concerto Elyma]]></category>
		<category><![CDATA[Edinburgh International Festival]]></category>
		<category><![CDATA[Frederick the Great]]></category>
		<category><![CDATA[King's Theatre]]></category>
		<category><![CDATA[period instruments]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7475</guid>
		<description><![CDATA[Before the drawing of the curtains, five Mexicans squat on the stage, toiling timelessly, while a sixth peddles knicknacks in the stalls as though it were a plaza full of tourists with bulging pockets, which it is in a way. "Don't encourage him," one utters sheepishly as another plays patron of the quaint local arts and crafts, exported from Mexico to the Edinburgh International Festival.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Valery Gergiev, BBC Proms 2010</title>
		<link>http://berkshirereview.net/2010/08/valery-gergiev-bbc-proms-2010/</link>
		<comments>http://berkshirereview.net/2010/08/valery-gergiev-bbc-proms-2010/#comments</comments>
		<pubDate>Sat, 21 Aug 2010 16:08:06 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[BBC Proms]]></category>
		<category><![CDATA[London Symphony Orchestra]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[Scriabin]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7509</guid>
		<description><![CDATA[Capo di tutti capi. If you must have a gang invade your turf, let it be a gang of scintillating Russian conductors.  The UK is in that enviable position - for some reason the Russians haven’t made real inroads in America - and Valery Gergiev  in particular has London at his feet. All but the critics, that is.  They are grumpy about Gergiev, and admittedly he is a grandstander. His first concert this summer was a program of almost amusing arrogance as he led the World Orchestra for Peace in the Mahler Fourth and Fifth symphonies.  One knew in advance that it would be too much of a glorious thing. The mega-wattage of the orchestra, which draws its roster from the great orchestras of the world (even the back bench violins are first and second desk players at home) insured an evening of thrills. This ad hoc ensemble premiered in 1995, the brain child of Sir Georg Solti, who wanted it to symbolize harmony among all peoples.  High-flown sentiments, but on the rare occasions when the World Orchestra assembles, with Gergiev now at the head, even the citizens of Berlin and Vienna have to take notice. This is orchestral playing of sizzling virtuosity.]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Arthur Miller&#8217;s All My Sons at the Apollo Theatre</title>
		<link>http://berkshirereview.net/2010/08/all-my-sons/</link>
		<comments>http://berkshirereview.net/2010/08/all-my-sons/#comments</comments>
		<pubDate>Sat, 21 Aug 2010 04:41:32 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[All My Sons]]></category>
		<category><![CDATA[Apollo Theatre]]></category>
		<category><![CDATA[Arthur Miller]]></category>
		<category><![CDATA[David Suchet]]></category>
		<category><![CDATA[Howard Davies]]></category>
		<category><![CDATA[Zoe Wanamaker]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7504</guid>
		<description><![CDATA[Missing in action. A play is greatly fortunate when it receives a performance better than it is. The current revival of Arthur Miller’s family drama from 1947, All My Sons, needs that kind of help. You hear hollow echoes throughout of socialist catch phrases and pat Depression-era notions about the working Joe as mythic hero.  Money stinks. Bosses are glint-eyed bastards. In the Soviet system such virtuous cant was backed up by totalitarian terror: if you didn’t write a paean to the crews who built a new dam in Omsk, the secret police were ready to stimulate your inspiration with a midnight visit. Miller wanted to be a good leftist and a great writer at the same time. We can be thankful that his artistic ambitiousness won out. Otherwise, All My Sons would be like a Christmas pudding studded with thumbtacks — as it is, the action stops for  mini sermons on one-worldism, war profiteers, the corrupting decay of capitalism, and so on. Finger wagging isn’t helpful when you aim to be the working-class Sophocles. Who cares if Oedipus paid his charioteer a decent wage at the crossroad to Thebes?]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Spur of the Moment at the Royal Court Theatre</title>
		<link>http://berkshirereview.net/2010/08/spur-of-the-moment/</link>
		<comments>http://berkshirereview.net/2010/08/spur-of-the-moment/#comments</comments>
		<pubDate>Fri, 20 Aug 2010 05:54:48 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Anya Reiss]]></category>
		<category><![CDATA[Royal Court Theatre]]></category>
		<category><![CDATA[Vladimir Nabokov]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7488</guid>
		<description><![CDATA[Her dark materials. I’m sure that the parents of Anya Reiss are bursting with pride that their daughter has written an acclaimed debut play, Spur of the Moment, at the unheard-of age of seventeen. But aren’t they horrified, too? As staged by the adventurous Royal Court Theatre, whose young writers program nurtured Reiss, the play is Ozzie and Harriet Burn in  Hell. Their precocious offspring wasn’t just listening at doors to what the adults were squabbling about. She was prying into their psyches with sharpened tweezers, as coldly objective as Nabokov with his butterflies skewered and pinned on a board.  Mums and dads across the land must be applying double insulation to their bedrooms.]]></description>
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