26 Mar 2011
Fizzy “Ory” at Met Opera charms its public
http://www.washingtonpost.com/blogs/classical-beat
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.washingtonpost.com/blogs/classical-beat
By Anne Midgette [Washington Post, 26 March 2011]
A Rossini comedy is supposed to be a veritable orgy of whipped-cream fun for the ears, with vocal flourishes and trills piling atop each other, crowned with sustained high Cs and E-flats like glistening cherries. In evaluating the Metropolitan Opera’s new production of “Le Comte Ory” (Count Ory), a rarely-done piece that had its first-ever performance at the Met on Thursday night, it’s hard to know whether to praise the company for providing a very nice hot-fudge sundae, or to lament the fact that it didn’t offer an all-out banana split.