06 Oct 2005
Sarah Connolly, St John's, Smith Square, London
http://enjoyment.independent.co.uk/music/reviews/article317583.ece
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://enjoyment.independent.co.uk/music/reviews/article317583.ece
By Edward Seckerson [The Independent, 6 October 2005]
There are some voices, some artists - and Sarah Connolly is one - that bring a little bit of the theatre with them when they perform. In Connolly's case, the voice has its own atmosphere. It comes to us from somewhere deep within; there's a concentration, a stillness. She does the heartache well - lost love, love unrequited - and can convey numbness in a sound utterly drained of colour. And there was plenty of opportunity for all that and more in her recital at St John's, Smith Square.