17 Aug 2010
Elektra, Grosses Festspielhaus, Salzburg Festival
http://www.ft.com/cms/s/2/5db49aac-aa16-11df-9367-00144feabdc0.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/2/5db49aac-aa16-11df-9367-00144feabdc0.html
By George Loomis [Financial Times, 17 August 2010]
Nikolaus Lehnhoff’s new production of Richard Strauss’s Elektra ends with a stroke of genius that arrives with a shock. As Elektra’s “dance of triumph” gets under way following her brother Orest’s murder of their mother Klytemnästra and Klytemnästra’s lover, Aegisth, a panel rises and you see the bloodied scene - a stark tiled room with Klytemnästra’s body hung by her feet and Aegisth’s body on the floor. Orest emerges and stands motionless, oblivious of Elektra’s crazed euphoria.