19 Oct 2006
Giulio Cesare, Théâtre des Champs Elysées, Paris
http://www.ft.com/cms/s/615aedc6-5f67-11db-a011-0000779e2340.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/615aedc6-5f67-11db-a011-0000779e2340.html
By Francis Carlin [Financial Times, 19 October 2006]
Christophe Rousset has no luck with producers. Here’s another example of his excellent baroque band Les Talens Lyriques harnessed to an embarrassingly bad staging. The culprit this time is Irina Brook, a young producer who might have had the courage to avoid giving Handel the camp treatment that has ruled for the past 20 years. Instead, she goes for a laboured version of the same.