15 Sep 2010
Great Expectations for a New Opera, Dashed
http://www.nytimes.com/2010/09/16/arts/16iht-loomis16.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/2010/09/16/arts/16iht-loomis16.html
By George Loomis [NY Times, 15 September 2010]
COPENHAGEN — Widely recognized as Denmark’s leading composer, Poul Ruders established himself as a major force in opera with “The Handmaid’s Tale,” a harrowing treatment of Margaret Atwood’s futuristic best-seller that received its premiere at the Royal Danish Opera in 2000. This gripping work led Anthony Tommasini, writing in The New York Times in 2001, to observe that Mr. Ruders “seems to have a Verdian understanding of the genre.”