26 Mar 2009
Kentridge's 'Return of Ulysses'
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/03/25/DDUT16MPIF.DTL
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.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/03/25/DDUT16MPIF.DTL
Joshua Kosman [San Francisco Chronicle, 26 March 2009]
The Wagnerian ideal of opera as a “total work of art” combining elements of various disciplines need not yield grandiose results. They can be as intimate and precise as director William Kentridge’s exquisite production of “The Return of Ulysses,” which opened an all-too-brief weeklong run at Project Artaud Theatre on Tuesday night.