21 Mar 2006
The Growth of a Tenor Voice Made Plain in Handel Works
http://www.nytimes.com/2006/03/21/arts/music/21luke.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/2006/03/21/arts/music/21luke.html
By ANNE MIDGETTE [NY Times, 21 March 2006]
However often you see him, the tenor Ian Bostridge remains a startling figure on the concert stage: tall and beanpole-skinny, like a Giacometti sculpture come to life, with the presence of an Oxford don. Some singers, when they use a music stand, try to detach themselves from the printed page. Mr. Bostridge, singing Handel arias with the Orchestra of St. Luke's on Sunday afternoon, seemed willingly to read from the music, like a professor giving a lecture, as if telling the audience about coloratura runs rather than, completely, showing them.