26 Aug 2010
Unlocking the Mystery of Honegger
http://www.nytimes.com/2010/08/29/arts/music/29chant.html?_r=1&ref=music
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/2010/08/29/arts/music/29chant.html?_r=1&ref=music
By Leslie Sprout [NY Times, 26 August 2010]
Arthur Honegger’s “Chant de Libération” was not a piece I intended to consult during a research trip to Paris in June 2009. Like others who knew of it, I thought the score was lost. Honegger had composed this song for baritone, chorus and orchestra in secret during the German occupation of France. Its only known trace was a tantalizing description of its October 1944 premiere in liberated Paris: a “triumph” by a “musician of the Resistance,” the music critic Maurice Brillant wrote.