31 Jan 2006
Gotterdammerung - Theatre du Chatelet, Paris
http://news.ft.com/cms/s/a0baa362-91fe-11da-bab9-0000779e2340.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/a0baa362-91fe-11da-bab9-0000779e2340.html
(Photo: M.N. Robert)
By Richard Fairman [Financial Times, 31 January 2006]
What a relief: for the final opera in Wagner's Der Ring des Nibelungen the director Robert Wilson found a few more colours. Siegfried had been played out against an almost permanent blue screen, like a science-fiction film before the special effects are added, but in Götterdämmerung we were treated to the sunny yellow of dawn, bloody red and even spot-lit white.