10 Nov 2008
Elektra's score is revelatory
http://www.thisislondon.co.uk/music/show-23582883-details/The+Royal+Opera:+Elektra/showReview.do?reviewId=23584383
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.thisislondon.co.uk/music/show-23582883-details/The+Royal+Opera:+Elektra/showReview.do?reviewId=23584383
By Barry Millington [Evening Standard, 10 November 2008]
After hearing the news of the hated Aegisth’s murder, Elektra disports herself in a wild, triumphal dance. Susan Bullock brings her searing performance in the title role of Covent Garden’s revival of Strauss’s opera to a climax with a maenadic sequence of earthy physicality before submitting to a bloody death herself.