21 Oct 2005
When Opera Was Forced Under the Radar
http://www.nytimes.com/2005/10/21/arts/music/21ceci.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/2005/10/21/arts/music/21ceci.html
By ANTHONY TOMMASINI [NY Times, 21 October 2005]
Even the most ardent fans of the mezzo-soprano Cecilia Bartoli must sometimes question whether she is making full use of her remarkable gifts and extraordinary popularity. By the late 1990's, the opera world wondered what she would do next. Expand her operatic repertory and take on touchstone soprano roles in Bellini operas? There was talk that Debussy's Mélisande might become a signature part.