30 Sep 2008
Deborah Voigt's Bold Gambit
http://www.nysun.com/arts/deborah-voigts-bold-gambit/86648/
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.nysun.com/arts/deborah-voigts-bold-gambit/86648/
By FRED KIRSHNIT [NY Sun, 26 September 2008]
American soprano Deborah Voigt has had an up-and-down career over the last decade. Although some of her appearances at the Metropolitan Opera House have been powerful, especially her Sieglinde under both maestros Gergiev and Maazel, she has also disappointed as Elisabeth in "Tannhaeuser" and especially as Floria in "Tosca," where her rendition of Vissi d'arte on opening night was remarkably unmoving. At this point, she needs to prove herself at every appearance.