26 Nov 2009
Le Balcon, Grand Theatre, Bordeaux
http://www.ft.com/cms/s/0/c88293ba-dab0-11de-933d-00144feabdc0.html?nclick_check=1
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/0/c88293ba-dab0-11de-933d-00144feabdc0.html?nclick_check=1
By Francis Carlin [Financial Times, 26 November 2009]
Whenever a composer sets a famous play to music, audiences are left wondering if and how it has been enhanced. And so it was when Peter Eötvös’s Le Balcon, based on the Genet play, opened the Aix festival in 2002.