01 Nov 2005
A thrilling spectacle of Puccini's heroines
http://www.newsday.com/features/printedition/ny-turandot4492280nov01,0,3529973.story?coll=ny-features-print
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.newsday.com/features/printedition/ny-turandot4492280nov01,0,3529973.story?coll=ny-features-print
BY MARION LIGNANA ROSENBERG [Newsday, 1 November 2005]
Philosopher and novelist Catherine Clément defined opera as a "spectacle thought up to adore, and also to kill, the feminine character." Puccini's "Turandot" (1926), one of the last operas to enter the standard repertory, stands as one of starkest and most seductive monuments to the form's misogynistic impulses.