27 Apr 2009
In Brooding Lieder, Gentleness and Drama
http://www.nytimes.com/2009/04/27/arts/music/27pape.html?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/2009/04/27/arts/music/27pape.html?ref=music
By Allan Kozinn [NY Times, 26 April 2009]
By its nature the bass voice is better suited for melancholy music than for cheerful, celebratory works. You can find exceptions — the bass part in the Beethoven Ninth Symphony and Leporello’s Catalogue Aria from “Don Giovanni,” for example — but a sepulchral growl, room-shaking power and a dark, soulful coloration are the truest hallmarks of a great bass, and composers are drawn to those qualities for the naturalness with which they evoke desolation, melancholia and terror.