26 Sep 2005
'Falstaff' With All the Details in Place
http://www.nytimes.com/2005/09/26/arts/music/26fals.html
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.nytimes.com/2005/09/26/arts/music/26fals.html
By Anne Midgette [NY Times, 26 September 2005]
Verdi's rich "Falstaff" pours out ideas in a fast-moving stream of glinting music. In James Levine's hands at the Metropolitan Opera on Friday evening, the score emerged from the first notes as burnished, full-bodied and warm as the title character himself. Then Dr. Caius (Peter Bronder in his Met debut) took the stage and began singing in a strong, firm tenor.
When such a small part is so well cast, you are in for an unusual evening; the attention to detail that characterized this performance has become, unfortunately, unusual.