28 Feb 2009
The compelling Dutchman
http://www.ft.com/cms/s/2/efd1218e-0293-11de-b58b-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/2/efd1218e-0293-11de-b58b-000077b07658.html
By Andrew Clark [Financial Times, 24 February 2009]
For a fairly popular opera, Der fliegende Holländer does not come round often. Like Wagner’s anti-hero, cursed to wander the seas and only put in to land every seven years, the work itself seems fated to be an infrequent visitor, forever in search of the elusive production that might be worthy of it.