26 Apr 2006
Maltman/Johnson — Wigmore Hall, London
http://arts.guardian.co.uk/reviews/story/0,,1761330,00.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,,1761330,00.html
Erica Jeal [Guardian, 26 April 2006]
It is hardly surprising that Goethe, the quintessential German Romantic, should have inspired Schumann to some sublime song settings. But one revealing aspect of this recital, which brought baritone Christopher Maltman and pianist Graham Johnson together for the third in Johnson's mini-series looking at Schumann's poets and contemporaries, was that it took some of his less celebrated, less consistent colleagues to even greater heights.