20 Jan 2008
L.A. Opera presents a 'Tristan' of this world
http://www.ocregister.com/entertainment/tristan-opera-music-1962845-conlon-los
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.ocregister.com/entertainment/tristan-opera-music-1962845-conlon-los
(Photo by Ken Howard courtesy of LA Opera)
By TIMOTHY MANGAN [Orange County Register, 20 January 2008]
The way "Tristan and Isolde" is written and talked about, you're surprised that it's done at all. Wagner's 1859 epic isn't just any opera, it's a holy monument of music, an untouchable masterpiece. It single-handedly (apparently) started the harmonic revolution that resulted with the end of tonality. Its two lead roles require superhumans with lungs of steel.