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<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0" xmlns:apcm="http://ap.org/schemas/03/2005/apcm"><channel><title>MetroPulse Stories: Classical</title><link>http://metropulse.com/news/ae-reviews/classical/?partner=RSS</link><atom:link href="http://metropulse.com/news/ae-reviews/classical/?partner=RSS" type="application/rss+xml" rel="self"></atom:link><description>MetroPulse Stories: Classical</description><language>en-us</language><category>ae-reviews/classical</category><apcm:author name="MetroPulse" uri="http://metropulse.com"></apcm:author><apcm:id>/news/ae-reviews/classical/?partner=RSS</apcm:id><apcm:link rel="self">http://metropulse.com/feeds/headlines/ae-reviews/classical/</apcm:link><apcm:updated>2008-11-21T16:24:44.379592</apcm:updated><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><item><title>Projection Difficulties
</title><link>http://metropulse.com/news/2008/nov/19/projection-difficulties/?partner=RSS</link><description><![CDATA[After opening at Broadway’s Adelphi Theatre in January of 1947, Kurt Weill’s <em>Street Scene</em> went on to win the first-ever Tony Award for a Composer (now Best Original Score). Yet <em>Street Scene</em> ran for only 148 performances—unsuccessful by Broadway standards—closing because of “production difficulties.” With a cast of more than 50, many of whom must possess operatic-quality voices, it doesn’t take a lot to imagine what those “difficulties” could have been. Nonetheless, Weill’s music is still appreciated for the descriptive textures and haunting melodies that engage the audience.  ]]></description><pubDate>Wed, 19 Nov 2008 22:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/nov/19/projection-difficulties/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>14003</apcm:id><apcm:updated>2008-11-19T17:00:00</apcm:updated><apcm:published>2008-11-19T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/nov/19/projection-difficulties/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>After opening at Broadway’s Adelphi Theatre in January of 1947, Kurt Weill’s &lt;em&gt;Street Scene&lt;/em&gt; went on to win the first-ever Tony Award for a Composer (now Best Original Score). Yet &lt;em&gt;Street Scene&lt;/em&gt; ran for only 148 performances—unsuccessful by Broadway standards—closing because of “production difficulties.” With a cast of more than 50, many of whom must possess operatic-quality voices, it doesn’t take a lot to imagine what those “difficulties” could have been. Nonetheless, Weill’s music is still appreciated for the descriptive textures and haunting melodies that engage the audience.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Projection Difficulties</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>projection-difficulties</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Scenes From New York
</title><link>http://metropulse.com/news/2008/nov/12/scenes-new-york/?partner=RSS</link><description><![CDATA[It is perhaps an illusory dream—the dream of artists to create works that distill the expansiveness of America into a singular essence, the dream of writing the great American novel or of capturing the nature of American life in painting or photography. In much the same way, it was the dream of German-born American composer Kurt Weill to create an “American opera.” Weill’s dream was built on the belief that the musical and theatrical territory of such a work lay somewhere between the traditions of European opera and American musical comedy.  ]]></description><pubDate>Wed, 12 Nov 2008 22:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/nov/12/scenes-new-york/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13976</apcm:id><apcm:updated>2008-11-12T17:00:00</apcm:updated><apcm:published>2008-11-12T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/nov/12/scenes-new-york/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>It is perhaps an illusory dream—the dream of artists to create works that distill the expansiveness of America into a singular essence, the dream of writing the great American novel or of capturing the nature of American life in painting or photography. In much the same way, it was the dream of German-born American composer Kurt Weill to create an “American opera.” Weill’s dream was built on the belief that the musical and theatrical territory of such a work lay somewhere between the traditions of European opera and American musical comedy.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Scenes From New York</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>scenes-new-york</apcm:SlugLine></apcm:ContentMetadata></item><item><title>String Music
</title><link>http://metropulse.com/news/2008/nov/05/string-music/?partner=RSS</link><description><![CDATA[When chamber music ventured beyond the drawing rooms and libraries of its origins and into larger concert halls and theaters, it suffered a predictable fate. Subtlety and nuance, defining characteristics of the personality of a small ensemble, were invariably lost in larger spaces. Fortunately, though, there is no finer theater-sized hall—in Knoxville, at least—suited to chamber music than the Bijou Theatre.  ]]></description><pubDate>Wed, 05 Nov 2008 22:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/nov/05/string-music/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13940</apcm:id><apcm:updated>2008-11-05T17:00:00</apcm:updated><apcm:published>2008-11-05T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/nov/05/string-music/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>When chamber music ventured beyond the drawing rooms and libraries of its origins and into larger concert halls and theaters, it suffered a predictable fate. Subtlety and nuance, defining characteristics of the personality of a small ensemble, were invariably lost in larger spaces. Fortunately, though, there is no finer theater-sized hall—in Knoxville, at least—suited to chamber music than the Bijou Theatre.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>String Music</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>string-music</apcm:SlugLine></apcm:ContentMetadata></item><item><title>All Tchaikovsky, All the Time
</title><link>http://metropulse.com/news/2008/oct/22/all-tchaikovsky-all-time/?partner=RSS</link><description><![CDATA[Of all the composers whose bodies of work can justify a concert dedicated to them, none has been a victim of the whims of musical fashion and the rise and fall of public and critical opinion more than Pyotr Ilyich Tchaikovsky. Through the years, Tchaikovsky has enjoyed waves of intense popularity, particularly due to his theatrical ballet scores for <em>The Nutcracker</em>, <em>Swan Lake</em>, and <em>Sleeping Beauty</em>; the <em>1812 Overture</em>; his last three symphonies; and the Violin Concerto. But often, the impact of this emotional—perhaps even over-hyped—popularity has been to overshadow a range of critical estimations of his music. Last weekend, the Knoxville Symphony Orchestra gave concertgoers an opportunity to evaluate this range in an all-Tchaikovsky concert of three works.  ]]></description><pubDate>Wed, 22 Oct 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/oct/22/all-tchaikovsky-all-time/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13851</apcm:id><apcm:updated>2008-10-22T17:00:00</apcm:updated><apcm:published>2008-10-22T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/oct/22/all-tchaikovsky-all-time/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>Of all the composers whose bodies of work can justify a concert dedicated to them, none has been a victim of the whims of musical fashion and the rise and fall of public and critical opinion more than Pyotr Ilyich Tchaikovsky. Through the years, Tchaikovsky has enjoyed waves of intense popularity, particularly due to his theatrical ballet scores for &lt;em&gt;The Nutcracker&lt;/em&gt;, &lt;em&gt;Swan Lake&lt;/em&gt;, and &lt;em&gt;Sleeping Beauty&lt;/em&gt;; the &lt;em&gt;1812 Overture&lt;/em&gt;; his last three symphonies; and the Violin Concerto. But often, the impact of this emotional—perhaps even over-hyped—popularity has been to overshadow a range of critical estimations of his music. Last weekend, the Knoxville Symphony Orchestra gave concertgoers an opportunity to evaluate this range in an all-Tchaikovsky concert of three works.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>All Tchaikovsky, All the Time</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>all-tchaikovsky-all-time</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Unmistakably Beethoven
</title><link>http://metropulse.com/news/2008/oct/15/unmistakable-beethoven/?partner=RSS</link><description><![CDATA[When Ludwig van Beethoven’s Violin Concerto in D major was premiered in Vienna in 1806, it was reported that the violin soloist, the eminent Franz Clement, inserted a virtuosic sonata of his own composition between the first and second movements, played on one string and with the violin held upside down.  ]]></description><pubDate>Wed, 15 Oct 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/oct/15/unmistakable-beethoven/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13825</apcm:id><apcm:updated>2008-10-15T17:00:00</apcm:updated><apcm:published>2008-10-15T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/oct/15/unmistakable-beethoven/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>When Ludwig van Beethoven’s Violin Concerto in D major was premiered in Vienna in 1806, it was reported that the violin soloist, the eminent Franz Clement, inserted a virtuosic sonata of his own composition between the first and second movements, played on one string and with the violin held upside down.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Unmistakably Beethoven</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>unmistakable-beethoven</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Made in America
</title><link>http://metropulse.com/news/2008/sep/24/made-america/?partner=RSS</link><description><![CDATA[In profile, at least, the man seated at the piano bore some slight resemblance to the iconic American composer whose music he was playing. The man at the piano—guest pianist Spencer Myer. And the music—George Gershwin’s <em>Concerto in F</em>. Had Gershwin been present for the opening concert of the Knoxville Symphony Orchestra’s 2008-2009 season last weekend—a concert of music by American composers—would he have applauded the young pianist as enthusiastically as the audience did? No doubt.  ]]></description><pubDate>Wed, 24 Sep 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/sep/24/made-america/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13758</apcm:id><apcm:updated>2008-09-24T17:00:00</apcm:updated><apcm:published>2008-09-24T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/sep/24/made-america/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>In profile, at least, the man seated at the piano bore some slight resemblance to the iconic American composer whose music he was playing. The man at the piano—guest pianist Spencer Myer. And the music—George Gershwin’s &lt;em&gt;Concerto in F&lt;/em&gt;. Had Gershwin been present for the opening concert of the Knoxville Symphony Orchestra’s 2008-2009 season last weekend—a concert of music by American composers—would he have applauded the young pianist as enthusiastically as the audience did? No doubt.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Made in America</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>made-america</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Name That Tune
</title><link>http://metropulse.com/news/2008/sep/17/name-tune/?partner=RSS</link><description><![CDATA[Da-da-da-<em>dah</em>. Those first four notes of Ludwig van Beethoven’s Fifth Symphony, proclaimed by some to be the knock of fate on the door, is undoubtedly the most instantly recognizable motif in all of music. But perhaps because of its iconic stature and its immense familiarity—and in spite of the false impression that it is overplayed—the symphony itself is actually programmed less often by orchestras than one might think. Although recordings certainly abound, I submit that many classical music listeners have heard live performances of it rarely, if at all.  ]]></description><pubDate>Wed, 17 Sep 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/sep/17/name-tune/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13732</apcm:id><apcm:updated>2008-09-17T17:00:00</apcm:updated><apcm:published>2008-09-17T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/sep/17/name-tune/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>Da-da-da-&lt;em&gt;dah&lt;/em&gt;. Those first four notes of Ludwig van Beethoven’s Fifth Symphony, proclaimed by some to be the knock of fate on the door, is undoubtedly the most instantly recognizable motif in all of music. But perhaps because of its iconic stature and its immense familiarity—and in spite of the false impression that it is overplayed—the symphony itself is actually programmed less often by orchestras than one might think. Although recordings certainly abound, I submit that many classical music listeners have heard live performances of it rarely, if at all.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Name That Tune</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>name-tune</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Touring Music
</title><link>http://metropulse.com/news/2008/sep/10/touring-music/?partner=RSS</link><description><![CDATA[Wandering about the streets of an unfamiliar city in search of chance discoveries can be one of the ineffable joys of traveling. Just such chance discoveries of the musical kind are being offered this season in <em>Time to Travel</em>, the Faculty Chamber Music Series of the University of Tennessee School of Music.  ]]></description><pubDate>Wed, 10 Sep 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/sep/10/touring-music/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13705</apcm:id><apcm:updated>2008-09-10T17:00:00</apcm:updated><apcm:published>2008-09-10T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/sep/10/touring-music/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>Wandering about the streets of an unfamiliar city in search of chance discoveries can be one of the ineffable joys of traveling. Just such chance discoveries of the musical kind are being offered this season in &lt;em&gt;Time to Travel&lt;/em&gt;, the Faculty Chamber Music Series of the University of Tennessee School of Music.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Touring Music</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>touring-music</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Music for the Masses
</title><link>http://metropulse.com/news/2008/sep/03/music-masses/?partner=RSS</link><description><![CDATA[One has only to stand in the lobby of the Tennessee Theater at 7:45 p.m. on a symphony evening to understand the diversity of the Knoxville Symphony Orchestra audience: regular patrons and University of Tennessee students; men in tuxedos and twentysomethings in jeans; ponytails and permed hair; high heels, sandals, and wingtips; cardigan sweaters and sparkly evening dresses. The one thing the concertgoers do have in common, though, is a compelling interest in orchestral music performed live in an acoustically superb concert hall. They don’t, however, necessarily care for the same orchestral music.  ]]></description><pubDate>Wed, 03 Sep 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/sep/03/music-masses/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13683</apcm:id><apcm:updated>2008-09-03T17:00:00</apcm:updated><apcm:published>2008-09-03T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/sep/03/music-masses/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>One has only to stand in the lobby of the Tennessee Theater at 7:45 p.m. on a symphony evening to understand the diversity of the Knoxville Symphony Orchestra audience: regular patrons and University of Tennessee students; men in tuxedos and twentysomethings in jeans; ponytails and permed hair; high heels, sandals, and wingtips; cardigan sweaters and sparkly evening dresses. The one thing the concertgoers do have in common, though, is a compelling interest in orchestral music performed live in an acoustically superb concert hall. They don’t, however, necessarily care for the same orchestral music.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Music for the Masses</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>music-masses</apcm:SlugLine></apcm:ContentMetadata></item><item><title>The Italian Job
</title><link>http://metropulse.com/news/2008/jul/02/italian-job/?partner=RSS</link><description><![CDATA[Career revelations can often come at unexpected times... and in unexpected places. Clarinetist Gary Sperl’s moment of clarity came in a college swimming pool in Wisconsin.  ]]></description><pubDate>Wed, 02 Jul 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/jul/02/italian-job/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13474</apcm:id><apcm:updated>2008-07-02T17:00:00</apcm:updated><apcm:published>2008-07-02T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/jul/02/italian-job/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>Career revelations can often come at unexpected times... and in unexpected places. Clarinetist Gary Sperl’s moment of clarity came in a college swimming pool in Wisconsin.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>The Italian Job</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>italian-job</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Pomp and Circumstance
</title><link>http://metropulse.com/news/2008/may/28/pomp-and-circumstance/?partner=RSS</link><description><![CDATA[There’s something about end-of-the-season concerts that always seems to inspire a bit of nostalgia for the past year of music, and a bit of optimism for the next. Of course, if you add in a warm May evening and bookend the concert with Elgar’s <em>Pomp and Circumstance</em> marches, as the Knoxville Symphony Orchestra did in its concerts last weekend, it is practically impossible not to feel a little sentimental.  ]]></description><pubDate>Wed, 28 May 2008 21:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/may/28/pomp-and-circumstance/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13334</apcm:id><apcm:updated>2008-05-28T17:00:00</apcm:updated><apcm:published>2008-05-28T17:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/may/28/pomp-and-circumstance/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>There’s something about end-of-the-season concerts that always seems to inspire a bit of nostalgia for the past year of music, and a bit of optimism for the next. Of course, if you add in a warm May evening and bookend the concert with Elgar’s &lt;em&gt;Pomp and Circumstance&lt;/em&gt; marches, as the Knoxville Symphony Orchestra did in its concerts last weekend, it is practically impossible not to feel a little sentimental.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Pomp and Circumstance</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>pomp-and-circumstance</apcm:SlugLine></apcm:ContentMetadata></item><item><title>A Heavyweight Requiem
</title><link>http://metropulse.com/news/2008/apr/30/heavyweight-requiem/?partner=RSS</link><description><![CDATA[While the <em>Requiem</em> is, for all intents and purposes, a Latin Mass for the Dead, Berlioz had no misgivings about changing and rearranging the original text to suit his dramatic needs. Nor was Berlioz a particularly religious person—to the modern audience in a concert hall, his <em>Requiem</em> appears more a ceremonial fantasy of sound than a liturgical service, despite its devotional core.  ]]></description><pubDate>Wed, 30 Apr 2008 22:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/apr/30/heavyweight-requiem/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13229</apcm:id><apcm:updated>2008-04-30T18:00:00</apcm:updated><apcm:published>2008-04-30T18:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/apr/30/heavyweight-requiem/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>While the &lt;em&gt;Requiem&lt;/em&gt; is, for all intents and purposes, a Latin Mass for the Dead, Berlioz had no misgivings about changing and rearranging the original text to suit his dramatic needs. Nor was Berlioz a particularly religious person—to the modern audience in a concert hall, his &lt;em&gt;Requiem&lt;/em&gt; appears more a ceremonial fantasy of sound than a liturgical service, despite its devotional core.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>A Heavyweight Requiem</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>heavyweight-requiem</apcm:SlugLine></apcm:ContentMetadata></item><item><title>Politics! Jealousy! Sex!
</title><link>http://metropulse.com/news/2008/apr/09/politics-jealousy-sex/?partner=RSS</link><description><![CDATA[All this and more can be enjoyed at Rossini Festival’s two big productions, Tosca and La Traviata. <img src="http://media.metropulse.com/metr/content/img/photos/2008/04/09/1815_cover.jpg"/> ]]></description><pubDate>Thu, 10 Apr 2008 01:00:00 -0000</pubDate><guid>http://metropulse.com/news/2008/apr/09/politics-jealousy-sex/?partner=RSS</guid><category>ae-reviews/classical</category><apcm:ContentMetadata><apcm:id>13155</apcm:id><apcm:updated>2008-04-09T21:00:00</apcm:updated><apcm:published>2008-04-09T21:00:00</apcm:published><apcm:rights>Copyright MetroPulse, 2008</apcm:rights><apcm:link href="/news/2008/apr/09/politics-jealousy-sex/?partner=RSS" rel="alternate"></apcm:link><apcm:summary>All this and more can be enjoyed at Rossini Festival’s two big productions, Tosca and La Traviata.</apcm:summary><apcm:DateLine>Knoxville, TN</apcm:DateLine><apcm:HeadLine>Politics! Jealousy! Sex!</apcm:HeadLine><apcm:Source>MetroPulse</apcm:Source><apcm:Characteristics MediaType="Text"></apcm:Characteristics><apcm:SlugLine>politics-jealousy-sex</apcm:SlugLine></apcm:ContentMetadata></item></channel></rss>