15 Feb 2011
Life After the Opera
http://online.wsj.com/article/SB10001424052748704422204576130200961562830.html?mod=WSJ_Opinion_TOPRightCarousel_1
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://online.wsj.com/article/SB10001424052748704422204576130200961562830.html?mod=WSJ_Opinion_TOPRightCarousel_1
By David Mermelstein [WSJ, 15 February 2011]
The beloved American soprano Dawn Upshaw has always followed her own star. When few singers of her stature championed new music, she made a cottage industry of the practice, a commitment that has only increased with the years. At the same time, her growing interest in more intimate forms of music making has led her to forge new associations away from the opera house, including one here with the Saint Paul Chamber Orchestra.