20 Feb 2008
José Carreras
http://music.guardian.co.uk/live/story/0,,2258097,00.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://music.guardian.co.uk/live/story/0,,2258097,00.html
Alfred Hickling [The Guardian, 20 February 2008]
Domingo brought drama and dynamism, Pavarotti had the most exquisitely poetic tone, while Carreras ... Actually, it was never completely clear what Carreras brought to the Three Tenors party, except poignancy perhaps; his voice having endured the twin traumas of leukaemia and Herbert von Karajan who, in pushing Carreras's delicate instrument towards the heavyweight end of the tenor spectrum, may have hastened the deterioration of vocals once likened to a silken thread into a timbre more reminiscent of a fraying rope.