01 Nov 2005
Maria di Rohan, Theatre Royal, Wexford
http://news.ft.com/cms/s/9f065bb2-4a7b-11da-b8b1-0000779e2340.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://news.ft.com/cms/s/9f065bb2-4a7b-11da-b8b1-0000779e2340.html
By Andrew Clark [Financial Times 1 November 2005]
The most interesting decade for Italian opera was not the 1820s, when Rossini was at his zenith, nor the 1850s, when Verdi became the dominant force. No, it was the 1840s, when the old decorative conventions gave way to a modern, through- composed type of drama. We owe it to the Wexford festival these past few years for profiling this trend.