10 Nov 2009
Sylvia McNair powerful in Weill-filled "Songspiel" from American Opera Theater
http://weblogs.baltimoresun.com/entertainment/classicalmusic/2009/11/sylvia_mcnair_powerful_in_weil.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://weblogs.baltimoresun.com/entertainment/classicalmusic/2009/11/sylvia_mcnair_powerful_in_weil.html
By Tim Smith [Baltimore Sun, 10 November 2009]
A Kurt Weill song can’t be mistaken for anything else. There’s something tense in the warmest of his melodic lines, something pointed in the simplest of his harmonies. And that’s even before you consider the words. Weill was inspired by some remarkable lyricists — Bertolt Brecht, Ira Gershwin, Walter Mehring, Roger Fernay, Maurice Magre, Maxwell Anderson — who found fresh ways of addressing the old issues of love and loss.