15 Apr 2006
Beneath the underworld
http://news.ft.com/cms/s/9e6e5578-cab5-11da-9015-0000779e2340.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/9e6e5578-cab5-11da-9015-0000779e2340.html
By David Jays [Financial Times, 14 April 2006]
This weekend, English National Opera premieres a new production of Monteverdi’s Orfeo, the first real opera, at the London Coliseum. A 400-year-old chamber piece originally written for an Italian ducal palace must fill the largest theatre in London. It’s a big event - for the ENO and for all those involved. So what happens in the run-up to the opening night? How does the creative team communicate such an old piece to a contemporary audience and how do an incomplete score and the director’s imagination reach the stage?