01 Mar 2011
Die Fledermaus, Wales Millennium Centre, Cardiff
http://www.ft.com/cms/s/2/ba8a88e4-442c-11e0-931d-00144feab49a.html#axzz1FVQD7NMR
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/ba8a88e4-442c-11e0-931d-00144feab49a.html#axzz1FVQD7NMR
By Andrew Clark [Financial Times,1 March 2011]
The British have almost as big a problem with Viennese operetta as they do with French. It’s a question of style and tone. Sung in English, Die Fledermaus invariably turns into an old-fashioned comedy of class, with cut-glass accents for Eisenstein and his cronies and something “regional” for Frosch the gaoler. It never works, because even a century ago the English upper class had nothing like the insouciance of Johann Strauss’s haute bourgeoisie. The comedy ends up stiff and contrived.