10 Feb 2011
Composer Ana Sokolovic taps contemporary opera’s taboo emotion with Love Songs
http://www.straight.com/article-373684/vancouver/lyrical-love-aria
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.straight.com/article-373684/vancouver/lyrical-love-aria
By Alexander Varty [Straight.com, 10 February 2011]
If there’s anything that links the various contemporary operas that have been produced in Vancouver over the past few years, it’s the diversity of their subject matter. Architecture, astronomy, diplomacy, and madness have all come under librettists’ scrutiny, showing that the operatic form is not afraid to tackle big issues. However, there’s one big issue that modern-day operatic composers seem reluctant to explore—and that’s surprising, given that it was the topic of choice for some of the best-loved operas ever written.