10 Mar 2006
That Big Nose Is Back, and So Is the Voice That Goes With It
http://www.nytimes.com/2006/03/10/arts/music/10cyra.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.nytimes.com/2006/03/10/arts/music/10cyra.html
By BERNARD HOLLAND [NY Times, 10 March, 2006]
The hole in the middle of the Metropolitan Opera's recent revival of "Cyrano de Bergerac" has been filled. Franco Alfano's opera in Francesca Zambello's production was created last season as a vehicle meant to carry Plácido Domingo farther along his amazing route of twilight stardom. The title role sits well on his deepening tenor voice, and here was a chance to be a dashing swordsman, wear a long nose and act up a storm. A rarely performed piece with lovely music received exposure it is not used to.