02 Dec 2010
Go East, Young Diva
http://www.nytimes.com/2010/12/02/opinion/global/02iht-GA09Moravcsik.html?_r=1&ref=iht-year-end
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.nytimes.com/2010/12/02/opinion/global/02iht-GA09Moravcsik.html?_r=1&ref=iht-year-end
By Andrew Moravcsik [NY Times, 2 December 2010]
For four hundred years, no art form has been more closely identified with Western culture than opera. At the heart of every great European city stands an opera house. Over the centuries, it became the center of intellectual and social life: the place where the aristocracy gambled and partied, the rising bourgeoisie conversed, the artistic avant-garde sought inspiration. From Baroque to post-modern, opera librettos mirror the modern history of the West.