15 May 2006
Parsifal, Metropolitan Opera, New York
http://news.ft.com/cms/s/558b4320-e432-11da-8ced-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/558b4320-e432-11da-8ced-0000779e2340.html
By Martin Bernheimer [Financial Times, 15 May 2006]
Wagner called Parsifal a “stage-consecrating festival play”, and most companies these days apply modern sensibilities to the complex narrative. Some adapt abstraction, others impose stylisation. Some focus on symbolism, others invoke sociological, even political commentary. There can be more here than meets the ear.