29 Mar 2010
Angels in America, Barbican, London
http://www.ft.com/cms/s/2/c20d5780-3b50-11df-b622-00144feabdc0.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/c20d5780-3b50-11df-b622-00144feabdc0.html
By Andrew Clark [Financial Times, 29 March 2010]
Peter Eötvös’s opera attracted a large audience for its UK premiere, and deservedly so. This was a beautifully prepared, brilliantly executed rendition of a work that speaks a contemporary language - the F-word much in evidence - without patronising its listeners musically.