21 Oct 2007
Monteverdi with an image problem
http://www.ft.com/cms/s/2/65be501e-7e61-11dc-8fac-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/2/65be501e-7e61-11dc-8fac-0000779fd2ac.html
By Andrew Clark [Financial Times, 21 October 2007]
When Monteverdi wrote L’incoronazione di Poppea for republican Venice in 1642, he devised an opera not about mythical archetypes but – a probable first for the nascent art form – about real human beings. He showed their frailties, their ability to love and hate, to be good, evil, pompous, humble, callous and kind. Poppea is unashamedly popular in its treatment of love, lust and power.