13 Jun 2006
Grendel, Dorothy Chandler Pavilion, Los Angeles
http://news.ft.com/cms/s/15bae226-faff-11da-b4d0-0000779e2340.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/15bae226-faff-11da-b4d0-0000779e2340.html
By Allan Ulrich [Financial Times, 13 June 2006]
The unenviable task of producing an opera in which the music approaches the expendable has fallen to the Los Angeles Opera. But Elliot Goldenthal and Julie Taymor’s version of John Gardner’s 1971 cult novel has set a standard in a city where spectacular trappings are sometimes confused with profundity. Whatever virtues elude this dramatisation of the Old English Beowulf epic, recounted from the monster’s point of view, sheer theatrical legerdemain is not among them.