11 Apr 2011
Le Freischütz, Opéra Comique, Paris
http://www.ft.com/cms/s/2/cda8b8b6-6456-11e0-a69a-00144feab49a.html#axzz1JPvv5SoJ
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/cda8b8b6-6456-11e0-a69a-00144feab49a.html#axzz1JPvv5SoJ
By Francis Carlin [Financial Times, 11 April 2011]
When the Paris Opera decided to put on Weber’s Der Freischütz in 1841, it commissioned Berlioz to write the recitatives to replace the original spoken dialogue. He agreed but reluctantly; an outspoken critic of meddling with a composer’s intentions, he knew that if he refused, somebody with less respect for Weber would volunteer.