24 Oct 2006
A 'Caligula' who speaks to our many demons
http://www.iht.com/articles/2006/10/24/opinion/loomis.php
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.iht.com/articles/2006/10/24/opinion/loomis.php
By George Loomis [International Herald Tribune, 24 October 2006]
FRANKFURT In an interview, the composer Detlev Glanert said he was drawn to Albert Camus's play "Caligula" because, rather than having characters who interact with one another, it centers on a single character who dominates the others. That's putting it mildly, but another, more down-to- earth answer might be that the play is crammed with violence, an ingredient long cherished by opera composers.