03 Aug 2005
La Voix Humaine at Glimmerglass
http://online.wsj.com/article/0,,SB112302089510903059,00.html?mod=opinion&ojcontent=otep
https://boydellandbrewer.com/bizet-s-i-carmen-i-uncovered.html
https://boydellandbrewer.com/the-operas-of-sergei-prokofiev.html
https://www.wexfordopera.com/media/news/incoming-artistic-director-rosetta-cucchi-announces-her-2020-programme
https://press.uchicago.edu/ucp/books/book/chicago/M/bo43988096.html
http://www.iupress.indiana.edu/product_info.php?products_id=809636
https://www.cambridge.org/us/academic/subjects/music/twentieth-century-and-contemporary-music/prokofievs-soviet-operas?format=HB
https://boydellandbrewer.com/the-operas-of-benjamin-britten.html
https://www.bloomsbury.com/us/the-opera-singers-acting-toolkit-9781350006454/
https://h-france.net/vol18reviews/vol18no52palidda.pdf
http://www.operatoday.com/content/2018/08/glyndebourne_an.php
A musical challenge to our view of the past
https://vimeo.com/operarara/how-to-rescue-an-opera
http://online.wsj.com/article/0,,SB112302089510903059,00.html?mod=opinion&ojcontent=otep
In Summer Opera, Smallest Is Best
By Heidi Waleson [Wall Street Journal, 3 August 2005]
The most satisfying opera at Glimmerglass this summer was the smallest -- Poulenc's "La Voix Humaine" (1959) performed by soprano Amy Burton. The intimacy of this piece makes it hard to pull off: A woman talks on the phone for 45 minutes with the husband who has left her (the libretto is by Jean Cocteau), and we hear the stages of her despair. A suicide attempt is mentioned. Some singers turn the piece into a hysterical melodrama, torturing their voices, but with Sam Helfrich's direction, Ms. Burton played the scene with a subtle realism and beauty of sound that was infinitely more wrenching and vulnerable.