29 Oct 2007
Kitsch captures the castle
http://www.ft.com/cms/s/2/5be0f4a4-863e-11dc-b00e-0000779fd2ac.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/2/5be0f4a4-863e-11dc-b00e-0000779fd2ac.html
By Martin Bernheimer [Financial Times, 29 October 2007]
Massenet’s Cendrillon is many things – a fragile study in Gallic romanticism, a precarious fusion of fantasy, comedy and melancholy, a sophisticated composition that makes knowing references to Debussy and even Wagner, a sensitive ode to adolescent love. It is not, however, a crass cartoon. One wouldn’t have guessed that on Saturday, when the New York City Opera introduced a popsy new production that it shares with Karlsruhe, Strasbourg and Montreal.