17 Jan 2006
Benvenuto Cellini, Opéra national du Rhin Strasbourg
http://news.ft.com/cms/s/f2871dde-86fe-11da-8521-0000779e2340.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/f2871dde-86fe-11da-8521-0000779e2340.html
By Francis Carlin [Financial Times, 17 January 2006]
After Béatrice et Bénédict, this is the second leg of Nicholas Snowman's ambitious Berlioz cycle. But here the production team of Renaud Doucet and André Barbe are less daring, transforming the whole work into a conveniently mad farce rather than trying to mesh the serious and comic elements.