02 Sep 2007
Singing the Lament of a Fugitive Slave
http://www.nytimes.com/2007/09/02/arts/music/02gure.html?_r=1&ref=music&oref=slogin
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.nytimes.com/2007/09/02/arts/music/02gure.html?_r=1&ref=music&oref=slogin
(Photo: Devon Cass)
By MATTHEW GUREWITSCH [NY Times, 2 September 2007]
IN the fall of 2002 the composer Richard Danielpour was in residence at the American Academy in Berlin, orchestrating the first act of his first opera, “Margaret Garner” but still awaiting the words for the final scenes. For weeks, in calls to Princeton, N.J., he had been hounding his librettist, the Nobel Prize-winning novelist Toni Morrison, who would answer quietly: “Good things take time. You have to wait.”