12 Nov 2010
Kafka Fragments, Barbican, London
http://www.ft.com/cms/s/2/668ae2fc-ee78-11df-9db0-00144feab49a.html#axzz156me2rDa
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/2/668ae2fc-ee78-11df-9db0-00144feab49a.html#axzz156me2rDa
By Richard Fairman [Financial Times, 12 November 2010]
By keeping in with maverick American director Peter Sellars the Barbican has secured itself a place at the international table for a regular supply of contemporary staged work. Over the years this has brought it important new pieces by leading composers such as John Adams and Kaija Saariaho, not to mention the occasional staging of a classic.