05 Oct 2006
Der Rosenkavalier, Theatre Royal, Glasgow
http://www.ft.com/cms/s/6f5e1bcc-5496-11db-901f-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/6f5e1bcc-5496-11db-901f-0000779e2340.html
By Andrew Clark [Financial Times, 5 October 2006]
Conventional wisdom tells us that Strauss’s “comedy for music” is at best a Viennese masquerade, at worst a succession of highlights for which we pay with extended longueurs – a bit like Wagner, except the highlights come sugar-coated. That’s not the way it appears in David McVicar’s classic production. In a performance as good as this, Der Rosenkavalier becomes a continuous thread of voices, instrumental and vocal, that coalesce into a witty, sentimental drama. The result is to leave the audience moved as much as entertained, which certainly was the case on Wednesday.