27 Apr 2009
Lulu, Opéra de Lyon
http://www.ft.com/cms/s/2/1caba740-2e8d-11de-b7d3-00144feabdc0.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/2/1caba740-2e8d-11de-b7d3-00144feabdc0.html
By Francis Carlin [Financial Times, 21 April 2009]
Depraved, amoral, exploited, manipulated but also manipulating. Lulu fascinates because she’s so hard to pin down, leaving us unsure whether we should pity the fallen harlot who meets her sordid end at the hands of Jack the Ripper or conclude that she simply got her just deserts. This is, after all, a morality play.