19 Dec 2008
A ‘Messiah’ as Handel Might Have Heard It
http://www.nytimes.com/2008/12/19/arts/music/19phil.html?_r=1&ref=music
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/2008/12/19/arts/music/19phil.html?_r=1&ref=music
By Steve Smith [NY Times, 18 December 2008]
Historically informed performance practice in Baroque music is not the first thing that comes to mind when you think about the New York Philharmonic. But with each presentation of Handel’s “Messiah” since the orchestra began to plant the work among its December activities a few years ago has come a greater ease and authority in the lean, lithe style familiar from performances and recordings by period-instrument ensembles and groups influenced by them.