15 May 2011
Rigoletto, Theatre Royal, Glasgow
http://www.ft.com/intl/cms/s/2/3f0e015c-7d7d-11e0-b418-00144feabdc0.html#axzz1MpT5AwTw
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/intl/cms/s/2/3f0e015c-7d7d-11e0-b418-00144feabdc0.html#axzz1MpT5AwTw
By Andrew Clark [Financial Times, 15 May 2011]
How do you create “inner” realism in opera without recourse to the sort of “outer” realism that stifles the imagination? It is a question that preoccupied Verdi but finds little resonance in opera production today. Thrashing around for something new to say about familiar works, most companies propose either a superficial update of the composer’s scenic descriptions or something so far removed from them that what we see bears no relation to what we hear.