26 Sep 2005
Cardillac at Opéra Bastille, Paris
http://www.guardian.co.uk/arts/reviews/story/0,11712,1578110,00.html
http://www.paris-opera-awards.fr/parisoperraawards-9480.html
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http://europa.eu/rapid/press-release_SPEECH-13-280_en.htm?locale=en
http://www.standard.co.uk/arts/welcome-to-awards-night-at-the-opera-8493092.html
http://www.nytimes.com/2013/02/07/arts/music/are-those-pictures-really-mozart.html?smid=tw-share&_r=1&
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http://www.operatoday.com/content/2012/08/another_bayreut.php
http://www.operatoday.com/content/2012/07/changes_at_flor.php
http://www.operatoday.com/content/2012/07/changes_in_brat.php
http://www.operatoday.com/content/2012/07/honors_for_bayr.php
http://www.operatoday.com/content/2012/07/continued_progr.php
http://www.operatoday.com/content/2012/07/lots_of_loose_e.php
http://www.operatoday.com/content/2012/06/bavarian_state_.php
http://www.guardian.co.uk/arts/reviews/story/0,11712,1578110,00.html
By Andrew Clements [The Guardian, 26 September 2005]
Productions of Hindemith's Cardillac since the composer's death in 1963 can probably be counted on one hand. Even the substantial revision of the score carried out in the 1950s failed to cement its place in the repertory. Now the Paris Opera is trying to rehabilitate it, and, while the new production is not a total triumph, it would be hard today to make a better case for Cardillac than this.