06 Aug 2006
Orlando, Wilton's Music Hall, London
http://enjoyment.independent.co.uk/music/reviews/article1216381.ece
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://enjoyment.independent.co.uk/music/reviews/article1216381.ece
Handel in the 21st century: just add beer
By Anna Picard [Independent, 6 August 2006]
From Achilles to Zidane, there are few things more poignant than a hero's fall from grace. Such is the subject of Handel's 1733 opera Orlando, the tale of a knight driven mad by love, or, in Netia Jones's sometimes moving, often baffling modern-dress production for the Early Opera Company, a lager lout who loses his temper.