03 Aug 2009
Conjuring Mozart Themes and Sighs
http://www.nytimes.com/2009/08/03/arts/music/03gardner.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.nytimes.com/2009/08/03/arts/music/03gardner.html
By James R. Oestreich [New York Times, 3 August 2009]
The problem in starting a concert with a familiar opera overture is that if the overture is performed persuasively, what you may want to hear next is the rest of the opera, not other, unrelated music. So after Edward Gardner and the Mostly Mozart Festival Orchestra’s taut account of Mozart’s “Zauberflöte” Overture at Avery Fisher Hall on Friday evening, you half-wanted Tamino to trip onto the stage with a monstrous snake in pursuit.