10 Feb 2011
Opera That Bridges the Divide
http://online.wsj.com/article/SB10001424052748703960804576120193043514446.html?mod=WSJ_ArtsEnt_LifestyleArtEnt_4
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/SB10001424052748703960804576120193043514446.html?mod=WSJ_ArtsEnt_LifestyleArtEnt_4
By Judith H. Dobrzynski [WSJ, 10 February 2011]
In the music world, it's now axiomatic that opera companies must change, that they can't just keep staging the same old productions of "Tosca" and "Carmen," that they must shed their snooty image if they want to thrive. But how?