04 Dec 2006
Don Carlo, Metropolitan Opera, New York
http://www.ft.com/cms/s/74bddaa2-815b-11db-864e-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/74bddaa2-815b-11db-864e-0000779e2340.html
By Martin Bernheimer [Financial Times, 3 December 2006]
The glorious, poignant sprawl of Don Carlo returned almost triumphantly to Lincoln Center on Thursday. Equally responsive to Verdi’s dramatic bravado and lyrical introspection, James Levine sustained breadth and tension in the pit. He also reinforced his reputation as a masterly accompanist.