08 Jun 2010
Armida, Garsington Opera
http://www.telegraph.co.uk/culture/music/opera/7811652/Armida-Garsington-Opera-review.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.telegraph.co.uk/culture/music/opera/7811652/Armida-Garsington-Opera-review.html
By Rupert Christiansen [Telegraph, 8 June 2010]
What a delightful surprise - a Rossini opera which shows him with his mind firmly on the job, from the overture’s arresting beginning to the anti-heroine’s concluding tirade. Making no lurches into banality or resorts to bang-and-clatter cliché, Rossini seems to have been unusually inspired by Tasso’s tale of the seductive sorceress Armida, who ensnares the crusader Rinaldo - perhaps partly because his talented new lover Isabella Colbran was creating the title-role.