20 Feb 2007
Khovanshchina
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/opera/article1407803.ece
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://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/opera/article1407803.ece
Richard Morrison [Times Online, 20 February 2007]
Wales Millennium Centre, Cardiff
In Russia, history tends to repeat itself as tragedy, then farce — then grand opera. Mussorgsky’s Khovanshchina is typical: an epic attempt to dramatise power struggles in late 17th-century Moscow. And cosy they aren’t. By Act V all the jostling factions are murdered, exiled or have set themselves on fire (the opera ends with a macabre mass-immolation), thanks to the machinations of Peter the Great, who never appears — Tsarist convention dictating that you couldn’t portray a Romanov on stage.