<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>OperaSleuth</title>
	<atom:link href="https://www.artsjournal.com/operasleuth/feed" rel="self" type="application/rss+xml" />
	<link>https://www.artsjournal.com/operasleuth</link>
	<description>Speight Jenkins on the art of Opera</description>
	<lastBuildDate>Fri, 21 Dec 2018 23:59:15 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>
	hourly	</sy:updatePeriod>
	<sy:updateFrequency>
	1	</sy:updateFrequency>
	<generator>https://wordpress.org/?v=6.9.4</generator>
	<item>
		<title>Count</title>
		<link>https://www.artsjournal.com/operasleuth/2018/12/count.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2018/12/count.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Fri, 21 Dec 2018 23:59:09 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=1090</guid>

					<description><![CDATA[Wagnerian in the perfect projection of his bass bark, full of life and eager to perform like many Italian tenors, and nearly human in his understanding of the humans around him, Count was an amazing dog. A Labradoodle (half Labrador and half poodle) he was above all sweet. I have had more than a dozen [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2018/12/count.html/feed</wfw:commentRss>
			<slash:comments>11</slash:comments>
		
		
			</item>
		<item>
		<title>A CALL TO ACTION</title>
		<link>https://www.artsjournal.com/operasleuth/2017/06/a-call-to-action.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2017/06/a-call-to-action.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Mon, 05 Jun 2017 22:49:56 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=1037</guid>

					<description><![CDATA[In its 425 years of existence opera has played a part in many political events&#8211;The Marriage of Figaro, though very much neutralized from its French source, caused some anguish in Vienna, Verdi composed his first fifteen or so operas advocating an end to Austrian rule in Italy, and Berg&#8217;s Wozzeck dramatized the plight of the [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2017/06/a-call-to-action.html/feed</wfw:commentRss>
			<slash:comments>14</slash:comments>
		
		
			</item>
		<item>
		<title>WHAT&#8217;S GOING ON IN OPERA?</title>
		<link>https://www.artsjournal.com/operasleuth/2017/02/whats-going-on-in-opera.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2017/02/whats-going-on-in-opera.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Fri, 24 Feb 2017 00:41:31 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=1029</guid>

					<description><![CDATA[The news that Darren Keith Woods was summarily fired after a sixteen-year extraordinarily successful career as General Director of Fort Worth Opera added to some odd news from Vienna a short time ago seems inexplicable. Woods became General Director of a regional company in Texas at the turn of the present century that had made [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2017/02/whats-going-on-in-opera.html/feed</wfw:commentRss>
			<slash:comments>3</slash:comments>
		
		
			</item>
		<item>
		<title>RIENZI IN AMERICA?</title>
		<link>https://www.artsjournal.com/operasleuth/2017/01/rienzi-in-america.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2017/01/rienzi-in-america.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Tue, 31 Jan 2017 23:58:46 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=1021</guid>

					<description><![CDATA[Connecting opera to current, particularly American political events usually doesn’t work, and even more unlikely when the connection can be made, to an opera by Richard Wagner. Donald Trump has changed all that; in only ten days or so as President he has indicated a rather amazing parallel to the hero or at least to [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2017/01/rienzi-in-america.html/feed</wfw:commentRss>
			<slash:comments>21</slash:comments>
		
		
			</item>
		<item>
		<title>TRUMP’S PARTNER IN OPERA</title>
		<link>https://www.artsjournal.com/operasleuth/2016/08/trumps-partner-in-opera.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2016/08/trumps-partner-in-opera.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Wed, 10 Aug 2016 16:49:09 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=1012</guid>

					<description><![CDATA[Last fall I wrote a blog, The Operatic Republican Characters, in which I compared the Republicans seeking their party’s nomination for the Presidency. In it I compared Donald Trump to Dr. Dulcamara in Donizetti’s L’Elisir d’Amore. Several correspondents criticized this choice, saying that Dulcamara was an amiable quack, not at all like Mr. Trump. I [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2016/08/trumps-partner-in-opera.html/feed</wfw:commentRss>
			<slash:comments>27</slash:comments>
		
		
			</item>
		<item>
		<title>DEBASING CULTURE</title>
		<link>https://www.artsjournal.com/operasleuth/2016/03/debasing-culture.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2016/03/debasing-culture.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Tue, 29 Mar 2016 22:59:46 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=1003</guid>

					<description><![CDATA[In the last decade on several occasions subscribers to Seattle Opera, of which I was the General Director, commented to me that they enjoyed opera, wanted others to experience it, but that it would be so much more popular if I would make it considerably shorter. The suggested time was somewhere less than two hours, [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2016/03/debasing-culture.html/feed</wfw:commentRss>
			<slash:comments>4</slash:comments>
		
		
			</item>
		<item>
		<title>The Operatic Republican Candidates</title>
		<link>https://www.artsjournal.com/operasleuth/2016/03/the-operatic-republican-candidates.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2016/03/the-operatic-republican-candidates.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Thu, 10 Mar 2016 18:33:38 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=991</guid>

					<description><![CDATA[Anyone who has watched any of the Republican candidates&#8217; debates, particularly the recent ones,  has to have been amazed at the extreme statements, the antipathy, the crassness, and the violence of the tone, not to mention what the four remaining candidates want to do as President. American politics has always been rough, but even in [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2016/03/the-operatic-republican-candidates.html/feed</wfw:commentRss>
			<slash:comments>16</slash:comments>
		
		
			</item>
		<item>
		<title>A UNIQUE FRIEND</title>
		<link>https://www.artsjournal.com/operasleuth/2015/11/a-unique-friend.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2015/11/a-unique-friend.html#comments</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Tue, 24 Nov 2015 00:49:25 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=986</guid>

					<description><![CDATA[Any regular Seattle Opera attendee might remember hearing several slightly tenorial shouts of Bravo! after an aria or at the end of a performance, a sound that carried over even the most tumultuous applause. It came from standing room and from a very discriminating opera lover who passed away on November 21. For most of [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2015/11/a-unique-friend.html/feed</wfw:commentRss>
			<slash:comments>9</slash:comments>
		
		
			</item>
		<item>
		<title>OPERA AT OLD ELI</title>
		<link>https://www.artsjournal.com/operasleuth/2015/11/opera-at-old-eli.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2015/11/opera-at-old-eli.html#respond</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Mon, 16 Nov 2015 22:07:44 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=977</guid>

					<description><![CDATA[  Doris Yarick Cross for more than thirty years has directed Yale Opera, a division of the Yale School of Music. She and her husband, Richard Cross, serve as the voice teachers for the program, a mammoth task. Such major artists as Matthew Polenzani, Patrick Carfizzi, Tamara Mumford, and Christian Van Horn have graduated from [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2015/11/opera-at-old-eli.html/feed</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
			</item>
		<item>
		<title>OPERA IN PARIS</title>
		<link>https://www.artsjournal.com/operasleuth/2015/11/opera-in-paris.html</link>
					<comments>https://www.artsjournal.com/operasleuth/2015/11/opera-in-paris.html#respond</comments>
		
		<dc:creator><![CDATA[Speight Jenkins]]></dc:creator>
		<pubDate>Thu, 12 Nov 2015 22:26:30 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/operasleuth/?p=965</guid>

					<description><![CDATA[On a ten-day visit to the City of Light I had the opportunity to attend two operas and one superb music rehearsal of three very different works. First came at the Opera de Bastille Laurent Pelly&#8217;s production of Donizetti’s Elisir d’Amore. Chantal Thomas designed the charming sets, and Joel Adams the contemporary costumes; the production [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/operasleuth/2015/11/opera-in-paris.html/feed</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
			</item>
	</channel>
</rss>
