30 Sep 2005
Dear Mr. Gillinson
http://www.nysun.com/article/20821
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://www.nysun.com/article/20821
By Fred Kirshnit [NY Sun, 30 September 2005]
It would be a daunting task for the director of Carnegie Hall in Lewisburg, West Virginia, to maintain that facility as the world's most respected venue for classical music performance, but it ought to be easy for his New York counterpart to do the same. Carnegie Hall's management, though, seems to be consciously watering down its repertoire and, in the process, transforming its employer's image from that of the shining city on the hill to simply another unfocused performance space.