http://www.nytimes.com/2005/10/08/arts/music/08aria.html
ORFF: Carmina Burana
Once hailed by the Nazis as a symbol of Aryan supremacy, Carmina Burana has come to be recognized as a powerful expression of the gluttony and depravity present in a medieval, pagan society. An effective performance of Orffís musical adventure must allow audiences to envision the ìimagines magicae,î or magical images conveyed through the convergence of music and choreography.
Sarah Connolly, St John’s, Smith Square, London
http://enjoyment.independent.co.uk/music/reviews/article317583.ece
Celebrated soprano delivers onstage and in the classroom
http://www.boston.com/news/globe/living/articles/2005/10/06/celebrated_soprano_delivers_onstage_and_in_the_classroom?mode=PF
Shear delight
A Rossini revival enlivens the State Opera repertoire
http://www.praguepost.com/P03/2005/Art/1006/calen1.php
Joy and sorrow abound in classic
http://www.theaustralian.news.com.au/common/story_page/0,5744,16824723%255E26117,00.html
The Merry Widow at the Millennium Centre, Cardiff
http://www.guardian.co.uk/arts/reviews/story/0,11712,1585141,00.html
PUCCINI: Manon Lescaut
Manon Lescaut, dramma lirico in quattro atti
Giacomo Puccini (1858-1924), composer. Luigi Illica and Domenico Oliva, librettists.
First performance: 1 February 1893 at Teatro Regio, Turin.