03 Mar 2006
Euryanthe, Dresden Semperoper
http://news.ft.com/cms/s/57eff4ae-aa16-11da-96ea-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/57eff4ae-aa16-11da-96ea-0000779e2340.html
By Shirley Apthorp [Financial Times, 2 March 2006]
There are reasons for the relative obscurity of Weber’s Euryanthe. The libretto is full of cringe-inducing rhymes and the story, which hinges on the imperative of feminine fidelity, is hard to like.
Vera Nemirova’s new production tackles the problems head on and triumphs. With Jun Märkl’s lean, intelligent conducting and a cast of stars, this is a landmark interpretation.