18 Oct 2005
Standing Room Only for New Music, Fierce and Quiet Alike
http://www.nytimes.com/2005/10/18/arts/music/18powe.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/2005/10/18/arts/music/18powe.html
By Bernard Holland [NY Times, 18 October 2005]
Pessimists about the future of classical music may be looking in the wrong places. There were empty seats at the Metropolitan Opera's estimable "Aida" on Friday night, but on Saturday, "Powerhouse Pianists" filled the Tenri Cultural Institute to its gills, with standees crowding the rim of this small West Village gallery and hopeful ticket buyers stretching out onto 13th Street.