29 Aug 2011
Orlando Paladino, Usher Hall, Edinburgh
http://www.ft.com/intl/cms/s/2/78bcc222-d222-11e0-9137-00144feab49a.html#axzz1WXzEXs00
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/2/78bcc222-d222-11e0-9137-00144feab49a.html#axzz1WXzEXs00
By Andrew Clark [Financial Times, 29 August 2011]
Any performance of Orlando Paladino is a bit like an archaeological dig: it offers clues to Haydn’s personality and late-18th-century lifestyle, while leaving a lot to our imagination. It tells us, for example, what artists he had at his disposal at Esterháza, the aristocratic Elysium where he spent the most productive years of his life - a coloratura soprano with a formidable personality (the sorceress Alcina), a dramatic soprano with a brilliant top (the lovelorn heroine Angelica), a soubrette and baritone who were good at comedy (Erilla and Pasquale).