27 Jul 2006
Das Rheingold, Bayreuth
http://www.ft.com/cms/s/10979c84-1d8d-11db-bf06-0000779e2340.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://www.ft.com/cms/s/10979c84-1d8d-11db-bf06-0000779e2340.html
By Andrew Clark [Financial Times, 27 July 2006]
A casually dressed man wanders across the stage, snapping some of the graffiti that litter the gods’ urban walkway. A factory worker takes a meter- reading in the power plant that is Nibelheim, oblivious to the presence of Mime and Alberich. Three children lark about as the gods enter Valhalla, playfully re-enacting the violence that saw Fasolt murdered and the ring wrenched from Alberich’s finger.