23 May 2006
Macbeth, Seattle Opera
http://news.ft.com/cms/s/dc48a6ec-ea7b-11da-9566-0000779e2340.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/dc48a6ec-ea7b-11da-9566-0000779e2340.html
By George Loomis [Financial Times, 23 May 2006]
Startlingly, blood begins to ooze from the walls during the sleepwalking scene of Bernard Uzan’s production of Macbeth in Seattle, seeping down the panels of Robert Israel’s stark set in mockery of Lady Macbeth’s attempt at hygiene. This one sensational moment is effective because of Uzan’s perceptive treatment of the drama elsewhere.