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He avoided opera for most of his career because, as he put it in 1978, "American opera is a novelty, to be played once and that's all, even when they're good pieces," and because he doubted he could find a libretto that interested him.
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In 1913 Puccini was struggling to find a new libretto.
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I find this libretto an excellent metaphor avant la lettre for the EU's present predicament.
I go to Manchester to run a writing workshop with Streetwise Opera's Explore Group and find words for a libretto for James.
At YIVO, New York's Institute for Jewish Research, Ochs found a typescript of Frieda Freiman's libretto and Louis Gilrod's lyrics among documents placed there by Freiman's grandchildren, David and Lisa Roth.
Wants to write an opera, not negro, but can't find good libretto.
(Not everything exists online: I tried and failed to find the libretto for Franz Schreker's "Christophorus," which begins with the lines "Her eyes — hot summer. / Her thinking — cool").
In his own libretto, Maxwell Davies begins with a prologue set in the Edinburgh courtroom where three officers describe what they found: a deserted lighthouse with everything left as if in a hurry.
His libretto has been criticised for its awkward attempts at American street vernacular, and the opera has not found a place in the general repertory.
To "produce" an opera meant, at that time, to negotiate with an impresario, secure and edit (often heavily) a libretto, find or approve the singers, compose the music, supervise rehearsals, conduct the first three performances, deal with publishers, and more all this while shuttling from one end of Italy to the other in the days before railroads.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com