29 Jan 2006
A Nose Job Only Roxanne Could Love
http://www.nytimes.com/2006/01/29/arts/music/29shattuck.html?_r=1
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/2006/01/29/arts/music/29shattuck.html?_r=1
By KATHRYN SHATTUCK [NY Times, 29 January 2006]
They agreed on one thing: not just any nose would do.
What they - Francesca Zambello, the director of Franco Alfano's "Cyrano de Bergerac," now at the Met; Victor Callegari, head of the Met's makeup department; Anita Yavitch, the production's costume designer; and especially Plácido Domingo, its star - didn't want was the nose José Ferrer made famous in the 1950 film "Cyrano de Bergerac." That schnoz resembled a bratwurst jutting from his face. Or the proboscis Steve Martin wore in the 1987 film "Roxanne," its trajectory like a five-mile run on a bunny slope. Or the Academy Award-nominated honker Gérard Depardieu wore in the 1990 French adaptation, though frankly that wasn't much of a stretch.