26 Oct 2005
When a Sex Slave Makes Her Escape, Revenge Is in the Supernatural Air
http://www.nytimes.com/2005/10/25/arts/music/25mine.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/2005/10/25/arts/music/25mine.html
By ALLAN KOZINN [NY Times, 25 October 2005]
The New York City Opera, sensibly enough, regards its large repertory of standard works in efficient, mostly traditional stagings as its box-office bread and butter. But if you think back over the company's productions of the last 15 years, contemporary works - Zimmermann's "Soldaten," Hindemith's "Mathis der Maler," Carlisle Floyd's "Of Mice and Men" and Hugo Weisgall's "Esther" among them - have been the clear highlights. They have typically had short runs and they rarely return, but they are the soul of this company.