23 Mar 2006
Il dissoluto assolto, Teatro Nacional de São Carlos, Lisbon
http://news.ft.com/cms/s/d89180e2-ba96-11da-980d-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/d89180e2-ba96-11da-980d-0000779e2340.html
By Shirley Apthorp [Financial Times, 23 March 2006]
It was to have been La Scala’s world premiere, but Milan’s loss was Lisbon’s gain. The Teatro Nacional resolved to stage its own production of Azio Corghi’s opera, not least because the librettist was the Portugese literary icon José Saramago.