24 Mar 2010
Take a Play, Then Adorn It With Opera
http://www.nytimes.com/2010/03/25/arts/music/25fairy.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/2010/03/25/arts/music/25fairy.html
By Allan Kozinn [NY Times, 24 March 2010]
The English were wary of the Continental taste for opera in the 17th century, but they liked the idea of adorning plays with music. What composers and theater producers came up with is a curious compromise that Roger North, a writer at the time, called “semi-opera.” In this hybrid form, a play is presented straightforwardly, as spoken text, with masques — parades of songs, choruses and dance — interspersed within each act.