16 Mar 2006
Thérèse Raquin
http://arts.guardian.co.uk/reviews/story/0,,1731679,00.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://arts.guardian.co.uk/reviews/story/0,,1731679,00.html
Tim Ashley [Guardian, 16 March 2006]
The Tobias Picker phenomenon is puzzling. Born in New York in 1954, the composer is popular in the US, where companies such as the Los Angeles Opera and the Met have regularly commissioned and premiered his work. In the UK, however, he remains something of an unknown quantity, a fact that the newly formed Opera-te (Opera Theatre Europe) is aiming to correct with the British premiere of Picker's third opera.