15 May 2006
Deep Baritone: Dmitri Hvorostovsky
http://www.newyorkmag.com/arts/classicaldance/classical/profiles/16993/index.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.newyorkmag.com/arts/classicaldance/classical/profiles/16993/index.html
By Alicia Zuckerman
Dmitri Hvorostovsky may be the opera world’s favorite baritone these days. Sixteen years after he was catapulted to stardom by winning the Cardiff prize at 26, the Siberian-born Londoner is now booked way into 2010. He’ll perform a recital of Russian art songs Wednesday at Lincoln Center and appear next week at Joseph Volpe’s Metropolitan Opera farewell gala. In a chat with Alicia Zuckerman, he reflected on his image, his complex relationship with the motherland, and an onstage flash of anger that almost turned ugly.