30 Oct 2006
Magdalena Kozená, Barbican Hall, London
http://www.ft.com/cms/s/6dd33884-6821-11db-90ac-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/6dd33884-6821-11db-90ac-0000779e2340.html
By Richard Fairman [Financial Times, 30 October 2006]
The operas of Mozart hold such irrepressibly vivid and contrasting arias that it is surprising more singers have not devised concert programmes of them in the past 12 months. Linking one’s star to Mozart’s in his 250th anniversary year was never likely to do anybody any harm.