20 May 2008
Inspirations by Neruda, the Minutiae in Mahler
http://www.nytimes.com/2008/05/19/arts/music/19hait.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/2008/05/19/arts/music/19hait.html?_r=1&ref=music&oref=slogin
By BERNARD HOLLAND [NY Times, 19 May 2008]
Peter Lieberson’s “Neruda Songs” puts its trust in the staying power of five consecutive slow movements, in this case five vocal settings of Pablo Neruda’s sonnets. With impregnable dignity and great variety, Haydn succeeded at much the same challenge in his “Seven Last Words of Christ.”