15 Sep 2008
Turandot, Hampstead Theatre, London
http://www.ft.com/cms/s/0/af0c7afe-8020-11dd-99a9-000077b07658.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/0/af0c7afe-8020-11dd-99a9-000077b07658.html
By Ian Shuttleworth [Financial Times, 11 September 2008]
Charm, wonder, beauty ... not words often associated with Bertolt Brecht. More often dour, didactic, dull. The Young Vic’s revival earlier this year of The Good Soul Of Szechuan impressed some but left many doubting whether there was continuing dramatic life to such works after the dismissal of communism as a global ideology.