23 Mar 2011
Tristan und Isolde, Deutsche Oper, Berlin
http://www.ft.com/cms/s/2/ee8039e2-4e62-11e0-98eb-00144feab49a.html#axzz1HRpDBXkL
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/ee8039e2-4e62-11e0-98eb-00144feab49a.html#axzz1HRpDBXkL
By Renaud Loranger [Financial Times, 23 March 2011]
Call it the triumph of the anti-heroes. As Tristan exits the stage at the end of Act Three, he has become a disillusioned, grumpy old fool whose dabbling in drugs has only provided momentary marital bliss. He rants about the past while Kurwenal keeps himself to himself, then vanishes into darkness. Isolde, ageing and frail, tends to a coffin before singing a listless “Liebestod”.