07 Nov 2005
Why Shouldn't Men Sing Romantic Drivel, Too?
http://www.nytimes.com/2005/11/06/arts/music/06gure.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/2005/11/06/arts/music/06gure.html
By MATTHEW GUREWITSCH [NY Times, 6 November 2005]
CLASSICAL song recitals are, for the most part, a world of equal opportunity. Male or female, artists may perform what they like. Then there are the special cases: Schubert's cycles "Die Schöne Müllerin" ("The Miller's Fair Daughter") and "Winterreise" ("Winter Journey"), for instance, or Schumann's "Dichterliebe" ("A Poet's Love"). In each, the "I" of the verse presupposes a man's voice. Women occasionally take over, though never without raising questions of congruity.