23 Feb 2006
Macbeth — Royal Opera House, London
http://www.guardian.co.uk/arts/reviews/story/0,,1715741,00.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.guardian.co.uk/arts/reviews/story/0,,1715741,00.html
Martin Kettle [The Guardian, 23 February 2006]
Even today, Macbeth too often fails to win the critical respect lavished on Verdi's two later and more finished Shakespeare operas. But neither does it quite hold a place in the public's affection that is granted to the other peaks of his early and middle period output. Admittedly, without Boito as librettist, Macbeth is a more pragmatic and less ambitious opera than Otello or Falstaff, while the 1865 revision we normally hear is an occasionally clunky reworking of the searingly original 1847 version.