Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 16 June 2019

(p. xx) (p. xxi) List of Contributors

(p. xx) (p. xxi) List of Contributors

Marianne Betz is Professor of Musicology at the Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy” Leipzig. Her research explores transatlantic relations, focusing on American music of the generation of George W. Chadwick. Her publications include articles for the Handwörterbuch der musikalischen Terminologie, Archiv für Musikwissenschaft, Die Musikforschung, Musical Quarterly, Zibaldone, and the Yearbook of the American Music Research Centre (Boulder, CO). She is editor of the critical editions of Chadwick’s String Quartets (A-R, 2007) and his opera The Padrone, and is currently preparing a monograph on Chadwick.



Thomas Betzwieser is Chair of Historical Musicology at the Goethe-Universität in Frankfurt. He was Assistant Professor at the Freie Universität Berlin (1990–1995), DAAD Research Fellow at the Maison des Sciences de l’Homme, Paris (1995–1996), and Lecturer in Music at the University of Southampton (1999–2001). From 2001–2012 he held the Professorship of Musicology at the University of Bayreuth. He is a member of several musicological advisory boards (Heidelberger Akademie der Wissenschaften, Akademie der Wissenschaften und der Literatur Mainz), and since 2009 head of the project OPERA—Spektrum des europäischen Musiktheaters in Einzeleditionen (funded by the Union of German Academies of Sciences).



Charles S. Brauner is Professor Emeritus of Music History and Literature at Roosevelt University. He is editor of the critical edition of Rossini’s Mosè in Egitto, which was a finalist for the Claude V. Palisca Prize of the American Musicological Society, and co-editor of the critical edition of Rossini’s Armida. He has published articles on Rossini, Bellini, Monteverdi, German Lieder, and a study of libretti on the story of Armida from 1639 to 1817. His critical edition of Rossini’s Moïse is in preparation.



Patricia B. Brauner was until 2011 Managing Editor of Works of Gioachino Rossini (Bärenreiter) and Coordinator of the Center for Italian Opera Studies at the University of Chicago. She is editor of critical editions of Rossini’s Il barbiere di Siviglia and the cantatas La riconoscenza / Il vero omaggio and co-editor of four other volumes of Rossini’s works, including the Petite Messe solennelle (with Philip Gossett), which received the 2010 Claude Palisca Award of the American Musicological Society for a scholarly edition or translation. She has taught music history at Connecticut College, Loyola University of Chicago, and Roosevelt University, as well as seminars in music editing for the Fondazione Rossini (Pesaro, Italy), and the Université François-Rabelais (Tours, France). (p. xxii)



Joy H. Calico is Associate Professor of Musicology and Director of the Max Kade Center for European and German Studies at Vanderbilt University. She is the author of Brecht at the Opera (California, 2008), Arnold Schoenberg’s ‘A Survivor from Warsaw’ in Postwar Europe (California, 2014), and numerous other publications on opera and on Cold War cultural politics. She has received fellowships and grants from the Howard Foundation, the American Academy in Berlin, the National Endowment for the Humanities, the Berlin Program for Advanced German and European Studies, and the German Academic Exchange Service.



Tim Carter is the author of books on opera and musical theater ranging from the early Baroque to the mid-twentieth century, including W. A. Mozart: ‘Le nozze di Figaro’ (Cambridge, 1987), Monteverdi’s Musical Theatre (Yale, 2002), and ‘Oklahoma!’ The Making of an American Musical (Yale, 2007), and (with Richard Goldthwaite), Orpheus in the Marketplace: Jacopo Peri and the Economy of Late Renaissance Florence (Harvard, 2013). His critical edition of Kurt Weill and Paul Green’s 1936 musical play Johnny Johnson (Kurt Weill Foundation, 2012) won the 2013 Claude V. Palisca Prize awarded from the American Musicological Society; his work on Monteverdi was similarly recognized by the society’s H. Colin Slim Award that same year. He is currently David G. Frey Distinguished Professor of Music at the University of North Carolina at Chapel Hill.



Thomas Christensen is the Avalon Foundation Professor of Music and the Humanities at the University of Chicago. He has published on a wide variety of topics, including the history of music theory, four-hand piano arrangements, and on eighteenth-century musical aesthetics. His books include Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Koch (co-authored and translated with Nancy Baker; Cambridge, 1995), Rameau and Musical Thought in the Enlightenment (Cambridge, 1993), and (as editor), the Cambridge History of Western Music Theory (Cambridge, 2002). He is currently finishing a book concerning discourses of tonality in nineteenth-century France.



Marcia J. Citron is Lovett Distinguished Service Professor of Musicology at Rice University. She is the author of When Opera Meets Film (Cambridge, 2010) and Opera on Screen (Yale, 2000), and the award-winning Gender and the Musical Canon (reprint Illinois, 2000). In 2012 she was awarded Honorary Membership by the American Musicological Society.



Damien Colas is Director of Research at CNRS (Research Institute of Musical Heritage in Paris, France). His research focuses on Italian opera of the eighteenth and nineteenth centuries, especially performance practice (vocals, orchestra) and Franco-Italian cultural exchange and misunderstandings. For several years, Dr. Colas has been teaching a seminar on musical dramaturgy at the Université François-Rabelais (Tours). He is co-editor (with Alessandro Di Profio) of D’une scène à l’autre. L’opéra italien en Europe (Mardaga, 2009) and editor of the critical edition of Rossini’s Le comte Ory for Works of Gioachino Rossini (Bärenreiter, 2013). (p. xxiii)



Georgia Cowart is Professor of Music at Case Western Reserve University. She has published three books and a number of articles on music, art, and cultural politics in early modern France. Her most recent book, The Triumph of Pleasure: Louis XIV and the Politics of Spectacle (Chicago, 2008) focuses on the shifting intersections of the arts, ideology, and aesthetics at the court of Louis XIV and in Paris ca. 1650–1720. She has received a number of research grants and awards, including fellowships from the American Council of Learned Societies, the National Endowment for the Humanities, the Metropolitan Museum of Art in New York, and the Stanford Center for the Humanities. In 2009 she served as Guest Curator for the exhibition Watteau, Music, and Theater at the Metropolitan Museum of Art, and is currently completing a book on Watteau and musical theater.



Valeria De Lucca is a Lecturer in Music at the University of Southampton. Her work concentrates on patronage of music and aristocratic culture in early modern Italy, with a particular emphasis on the ways in which gender and class shaped motives, goals, and strategies of women patrons and on the role that visual aspects of operatic performance played in the construction of the patron’s identity. Recent publications include “Strategies of Women Patrons of Music and Theatre in Rome: Maria Mancini Colonna, Queen Christina of Sweden, and Women of their Circles” in Renaissance Studies 25/3 (2011) and “L’Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome” in The Journal of Musicology 28/2 (2011). Dr. De Lucca has received grants and fellowships from the Andrew W. Mellon Foundation, American Council of Learned Societies, the British Academy, and the Metropolitan Museum of Art, New York.



Alessandro Di Profio is Professor at the Université Sorbonne Nouvelle Paris 3. He is the author of La révolution des Bouffons: L’opéra italien au Théâtre de Monsieur, 1789–1792 (Paris, 2003), and co-editor (with Maria Grazia Melucci) of Piccinni, un musicista europeo (Adda, 2004) and (with Damien Colas) D’une scène à l’autre. L’opéra italien en Europe (Mardaga, 2009). He is the recipient of many prestigious awards and fellowships, including the Villa Medici in Rome (1999–2000), Beinecke Library (Yale University, 2003), and the Alexander von Humboldt Foundation (Berlin, 2013–2014).



William Drabkin is Professor of Music at the University of Southampton. He has published books on Haydn’s quartets (Greenwood, 2000) and Beethoven’s Missa solemnis (Cambridge, 1991), and an edition of Beethoven’s sketchbook Artaria 197 (Beethoven-Haus, 2011). His editions, in English translation, of Heinrich Schenker’s analytical writings from the 1920s won a Citation of Special Merit from the Society for Music Theory (2005). He has since published translations of Schenker’s writings from the early 1900s, including The Decline of the Art of Composition (2005) and is co-recipient of a second Citation of Special Merit for work on Schenker Documents Online, a website devoted to the transmission of the theorist’s correspondence and dairies. His analytical work on opera has appeared in Music and Analysis and the Cambridge Opera Handbook of La bohème (1986). He is currently Editor of the journal Music Analysis. (p. xxiv)



Mark Everist is Professor of Music, Associate Dean (Research) in the Faculty of Humanities, and Director of the Humanities Graduate School at the University of Southampton. His research focuses on the music of Western Europe in the period 1150–1330, French opera in the first half of the nineteenth century, Mozart, reception theory, and historiography. He is the author of Mozart’s Ghosts: Reception and Renown, 1791 to the Present (Oxford, 2012), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (Ashgate, 2005), Music Drama at the Paris Odéon, 1824–1828 (California, 2002), French Motets in the Thirteenth Century (Cambridge, 1994), and Polyphonic Music in Thirteenth-Century France (Garland, 1989), as well as editor of three volumes of the Magnus Liber Organi for Editions de l’Oiseau-Lyre (2001–2003). The recipient of the Solie (2010) and Slim (2011) awards of the American Musicological Association, he is President of the Royal Musical Association.



Linda B. Fairtile is the Head of Parsons Music Library at the University of Richmond. She is the author of Giacomo Puccini: A Guide to Research (Garland, 1999) and her articles on Italian opera have appeared in 19th-Century Music, Cambridge Opera Journal, and Studi pucciniani. In 2008 her reconstruction of the four-act version of Puccini’s Edgar was premiered at the Teatro Regio in Turin, and she is currently preparing the critical edition of that opera for Ricordi. Fairtile is Co-Director of the American Institute for Verdi Studies, and she has appeared as a panelist on the Texaco Metropolitan Opera Quiz radio broadcasts.



Martha Feldman is the Mabel Greene Myers Professor of Music and the Humanities at the University of Chicago. She is the author of The Castrato: Reflections on Natures and Kinds (California, 2014), Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy (Chicago, 2007), and City Culture and the Madrigal at Venice (California, 1995). Her book (co-edited with Bonnie Gordon), The Courtesan’s Arts: Cross-Cultural Perspectives (Oxford, 2006) won the 2007 Ruth A. Solie Award of the American Musicological Society).



Robert Fink is Professor of Musicology at the University of California, Los Angeles. He has published widely on contemporary music (both art and popular), most notably Repeating Ourselves: American Minimal Music as Cultural Practice (California, 2005). His current projects include an edited collection on tone and timbre in popular music, and Declassified, a study of the politics of art music in a post-classical world. He currently serves on the steering committee of the Society for Minimalist Music.



Marina Frolova-Walker is Reader in Music History at the Faculty of Music, University of Cambridge, and Fellow of Clare College. She received her Ph.D. from Moscow Conservatoire before moving to the UK. She is the author of Russian Music and Nationalism from Glinka to Stalin (Yale, 2007) and co-author (with Jonathan Walker) of Music and Soviet Power, 1917–32 (Boydell, 2012), and has written numerous scholarly articles and popular essays on Russian and Soviet music and culture.



Andreas Giger is the Louise and Kenneth L. Kinney Professor of Music at Louisiana State University. His research interests have concentrated on nineteenth-century Italian opera (p. xxv) and the work of Leonard Bernstein. He is author of Verdi and the French Aesthetic: Verse, Stanza, and Melody in Nineteenth-Century Opera (Cambridge, 2008), editor of the critical edition of Verdi’s I due Foscari for The Works of Giuseppe Verdi (Chicago/Milan, forthcoming), co-editor (with Thomas J. Mathiesen) of Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century (Nebraska, 2002), and founder of the Internet database Saggi musicali italiani.



Vincent Giroud is Professor of Comparative Literature at the University of Franche- Comté in Besançon. An École normale supérieure and Oxford graduate, he has previously taught at the Sorbonne, Johns Hopkins, Vassar, Bard, and Yale, where he also served for many years as curator of modern books and manuscripts at the Beinecke Library. Among his most recent publications are The World of Witold Gombrowicz (Yale University Library, 2004), Picasso and Gertrude Stein (Metropolitan Museum of Art, 2007), and French Opera: A Short History (Yale, 2010). He is an associate editor of The Oxford Companion to the Book (Oxford, 2010), and is currently completing a biography of the American composer Nicolas Nabokov for Oxford University Press.



Lydia Goehr is Professor of Philosophy at Columbia University. She is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford, 1992; second edition with a new essay, 2007), The Quest for Voice: Music, Politics, and the Limits of Philosophy [essays on Richard Wagner] (Oxford, 1998), Elective Affinities: Musical Essays on the History of Aesthetic Theory [essays on Adorno and Danto] (Columbia University, 2008), and co-editor (with Daniel Herwitz) of The Don Giovanni Moment: Essays on the Legacy of an Opera (Columbia University, 2006).



Philip Gossett is the Robert W. Reneker Distinguished Service Professor Emeritus at The University of Chicago. He is General Editor of The Works of Giuseppe Verdi (a joint publication of The University of Chicago Press and Ricordi-Universal Music of Milan) and of Works of Gioachino Rossini (Bärenreiter). His 2006 book, Divas and Scholars: Performing Italian Opera (Chicago), was awarded the Kinkeldey Prize of the American Musicological Society as the best book about music published that year. For his contributions to Italian opera, he was awarded the Cavaliere di Gran Croce, Italy’s highest civilian honor, by the President of Italy in 1999. He works extensively with opera houses and singers in mounting operas whose critical editions he has been responsible for publishing.



John Graziano is Director of Music in Gotham, a database project (generously funded by the National Endowment for the Humanities), which documents musical events in New York City from September 1862 through August 1875. His recent publications include European Music and Musicians in New York City, 1840–1900 (Rochester, 2006), and articles on John Phillip Sousa, Harry Burleigh, and the “Black Patti.” He is Professor Emeritus of Music at the City College and Graduate Center, City University of New York.



Helen M. Greenwald has taught at the New England Conservatory of Music since 1991, and was Visiting Professor in the Music Department at the University of Chicago (p. xxvi) in 2008. Her numerous articles on vocal music of the eighteenth through twentieth centuries have appeared in 19th-Century Music, Acta Musicologica, Journal of the American Musicological Society, the Mozart-Jahrbuch, Cambridge Opera Journal, and the Salzburger Akademische Beiträge. She is the editor of the critical edition of Verdi’s Attila (Chicago/Milan, 2012), which was premiered in 2010 by Riccardo Muti in his debut at the Metropolitan Opera, and the co-editor (with Kathleen Kuzmick Hansell) of the critical edition of Rossini’s Zelmira (Pesaro, 2005), premiered (2009) by Robert Abbado at the Rossini Opera Festival in Pesaro, Italy, with Juan Diego Flórez in the role of Ilo, and recently released on DVD (Decca, 2012). She writes frequently for the Boston Symphony Orchestra, the Royal Opera at Covent Garden, and the Metropolitan Opera.



Michal Grover-Friedlander teaches in the Musicology program at the Buchmann- Mehta School of Music at Tel Aviv University. She has written two books, Vocal Apparitions: The Attraction of Cinema to Opera (Princeton, 2005), which was named one of Choice’s outstanding academic titles for 2005, Operatic Afterlives (Zone, 2011), and co-edited an interdisciplinary book about the voice and the gaze (Resling, 2002, in Hebrew). She has written numerous articles and received several grants (Yad Hanandiv, Institute for Advanced Studies, Princeton, the Israel Science Foundation, and the Kurt Weill Foundation). Since 2005, Grover-Friedlander has been directing opera in Italy, Germany, and Israel, and in 2011 she founded the opera group Ta Opera Zuta.



Jake Heggie is an American composer of the operas Moby-Dick (libretto, Gene Scheer), Dead Man Walking (libretto, Terrence McNally), To Hell and Back (Scheer), Three Decembers (Scheer), For a Look or a Touch (Scheer), more than two hundred art songs, and orchestral and chamber music. As pianist and composer, he collaborates regularly with many of the world’s most beloved singers, and his songs, song cycles, and operas are programmed and produced internationally. Upcoming projects include Great Scott, a new opera for Joyce DiDonato with a libretto by Terrence McNally, commissioned by the Dallas Opera for its 2015 season. He lives in San Francisco.



Wendy Heller is Professor of Music and Director of the Program in Italian Studies at Princeton University. She is a specialist in seventeenth- and eighteenth-century opera from interdisciplinary perspectives, with particular emphasis on gender and sexuality, art history, and the classical tradition. Author of Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice (California, 2004), Heller has been a Fellow of the American Academy in Rome, of the Villa I Tatti (Harvard University Center for Renaissance Studies), and the Sylvan C. and Pamela Coleman Fellow at the Metropolitan Museum of Art. She is also the author of Music in the Baroque and Anthology of Music in the Baroque (both for W. W. Norton, 2013), and is completing a book entitled Animating Ovid: Opera and the Metamorphoses of Antiquity in Early Modern Italy.



Monika Hennemann’s research interests center on the music and literature of the “long nineteenth century” in German- and English-speaking countries. Her work has appeared in the Cambridge Companions to Mendelssohn and Liszt, and she has prepared the first edition of Anton Webern’s play “Tot.” Her monograph Mendelssohns Opernprojekte (p. xxvii) in ihrem kulturellen Kontext: Ein Beitrag zur deutschen Opern- und Librettogeschichte zwischen 1820 und 1850 will appear in 2014. She is presently a Lecturer in German Studies at Cardiff University, the Program Director of the University of Rhode Island’s “Deutsche Sommerschule am Atlantik,” and an Honorary Research Fellow in Musicology at the University of Birmingham.



Mary Hunter is A. LeRoy Greason Professor of Music at Bowdoin College. She is the author of The Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment (Princeton, 1999), for which she won the Kinkeldey Prize of the American Musicological Society, Mozart’s Operas: A Companion (Yale, 2008), and co-editor (with James Webster) of The Opera Buffa in Mozart’s Vienna (Cambridge, 1997) and (with Richard Will) Engaging Haydn: Culture, Content and Context (Cambridge, 2012). She was the editor of Cambridge Opera Journal 1997–2002, and has written articles on many aspects of late-eighteenth-century music. She is currently at work on a project on the ideology of performance in classical music culture.



Veronica Isaac is Assistant Curator in the Department of Theatre and Performance at the Victoria & Albert Museum, London. She was formerly Keeper of Costume for the Chertsey Museum and has carried out a number of freelance projects for other museums and institutions, including “Starstruck,” an exhibition of film, television, and theatrical costumes (Worcester Cathedral, 2009) and, most recently, an exhibition of 1930s dress entitled “Day and Night: From the Bedroom to the Ballroom 1929–1939” (Chertsey Museum). Her recent publications include “Presuming Too Far ‘above his very base and low degree’?: Thomas Cromwell’s Use of Textiles in his Schemes for Social and Political Success (1527–1540),” Costume 45 (2011) and “The Art of Costume: Highlights from the Wardrobe of the Painter’s Actress,” Nineteenth Century Theatre and Film 39/2 (2012).



Francesco Izzo is Senior Lecturer in Music at the University of Southampton. His research focuses on nineteenth-century opera and culture. He has published articles in Acta Musicologica, Cambridge Opera Journal, Journal of the American Musicological Society, Journal of Musicology, Nineteenth-Century Music Review, Studi musicali, and in numerous books and congress proceedings. He is Co-Director of the American Institute for Verdi Studies at New York University, the author of Laughter Between Two Revolutions: Opera Buffa in Italy, 1831–1848 (Rochester, 2013), and the editor of Giuseppe Verdi’s Un giorno di regno for The Works of Giuseppe Verdi (Chicago/ Milan, forthcoming).



Lawrence Kramer is Distinguished Professor of English and Music at Fordham University. He is the author of numerous books, most recently including Expression and Truth: On the Music of Knowledge and Interpreting Music, both (like most of his others) from the University of California Press; he has held numerous visiting professorships in North America, Europe, and Asia; he is the long-time editor of the journal 19th-Century Music; and he is a composer whose music has been performed internationally.



Daniela Macchione is Managing Editor of Works of Gioachino Rossini (WGR) for Bärenreiter Verlag (Kassel, Germany), for which she co-authored (with Martina Grempler) the inaugural volume of the series, Chamber Music without Piano (2007) (p. xxviii) and editor of the Bärenreiter critical edition of Paganini, Niccolò: 24 Capricci op. 1 / 24 Contradanze Inglesi for Violin solo (2013). She has taught at the University of Rome, La Sapienza, where she earned her doctorate in the History and Analysis of Musical Cultures (2004), and was assegnista di ricerca (research associate) at the University of Pavia/Cremona. She is consultant for the Center for Italian Opera Studies at the University of Chicago, where her work is devoted mainly to the OperaCat project. Dr. Macchione has received many prestigious awards and grants, including the Houghton Library Fellowship at Harvard University.



Ryan Minor is Associate Professor of Music History and Theory at the State University of New York at Stony Brook. He is the author of Choral Fantasies: Music, Festivity, and Nationhood in 19th-Century Germany (Cambridge, 2012), in addition to articles on Wagner and the historiography of music and nationalism. His current projects focus on dramaturgy and the politics of musical spectatorship in German opera. His work has been supported by the Alexander von Humboldt Foundation and the Radcliffe Institute for Advanced Study at Harvard University, and he currently serves as Co-Executive Editor of The Opera Quarterly.



Ulrich Müller (†2012)was Professor Emeritus (medieval German literature) at the University of Salzburg and published and edited numerous books and articles about European literature, musical theater (above all Mozart, Wagner, Kurt Weill, and musical comedy) and medieval music and modern performances (including LPs and CDs). For over fifteen years he served (with Oswald Panagl) as Dramaturg at the Landestheater Salzburg, and co-organized (until 2012) symposia about “Musiktheater” together with the Salzburg Festival and the Osterfestspiele Salzburg. Professor Müller contributed to numerous program books of the Salzburg Festival, the Bayreuth Festival, the Vienna Staatsoper and Volksoper, and other opera houses.



James Parakilas is the James L. Moody, Jr., Family Professor of Performing Arts at Bates College, where his teaching includes a course on Music and Drama. He is the author of Ballads Without Words: Chopin and the Tradition of the Instrumental Ballade (Amadeus, 1992), Piano Roles: 300 Years of Life with the Piano (Yale, 2000), and the textbook The Story of Opera (W. W. Norton, 2012), as well as articles on canon formation in Western music, grand opera, the opera chorus, exoticism in opera, and operas of Mozart, Tchaikovsky, and Gershwin.



Hilary Poriss is Associate Professor of Music History at Northeastern University, Boston. Her research interests focus on Italian and French opera, performance practice, and diva studies. She is the author of Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford, 2009), and co-editor (with Roberta Montemorra Marvin) of Fashions and Legacies of Nineteenth-Century Italian Opera (Cambridge, 2010) and (with Rachel Cowgill) of The Arts of the Prima Donna in the Long Nineteenth Century (Oxford, 2012). In addition, she has published articles and reviews in 19th-Century Music, Cambridge Opera Journal, Verdi Forum, and Nineteenth-Century Music Review. (p. xxix)



Jesse Rosenberg is Associate Professor of Music at Northwestern University. He received his Ph.D. from New York University, where he worked as archivist for the American Institute for Verdi Studies and received the Outstanding Dissertation Award and Excellence in Teaching Award. His published research includes studies on Rossini, Bellini, Donizetti, Verdi, and the Italian critic and theorist Abramo Basevi.



Julian Rushton taught at the Universities of East Anglia and Cambridge before becoming West Riding Professor of Music at the University of Leeds in 1982; he is now Professor Emeritus. His publications have centered on Berlioz, including two books—The Musical Language of Berlioz (Cambridge, 1983) and The Music of Berlioz (Oxford, 2001)—in addition to a number of articles and four volumes edited for the New Berlioz Edition. He has also published short studies of Mozart, including Cambridge Opera Handbooks on Don Giovanni (1981) and Idomeneo (1993), Mozart (The Master Musicians, 2006), and the New Grove Guide to Mozart and His Operas (2006). He was general editor of Cambridge Music Handbooks, contributing two volumes: Berlioz:Roméo et Juliette’ (1994) and Elgar: ‘Enigma Variations’ (1999); he is now joint editor with J. P. E. Harper-Scott of the Cambridge series Music in Context. Professor Rushton was President of the Royal Musical Association (1994–1999), and has been Chairman of the Editorial Committee of Musica Britannica since 1993. He is a Corresponding Member of the American Musicological Society and a Director of the International Musicological Society (from 2007).



Derek B. Scott is Professor of Critical Musicology and former Head of the School of Music at the University of Leeds. He has a special interest in the historical sociology of popular music and music for the stage, and is also a composer of theater music, symphonies for brass band, and a concerto for Highland Bagpipe. He has worked professionally as a singer and pianist on radio and TV, and in concert hall and theater. His books include The Singing Bourgeois (Ashgate 1989, 2001), From the Erotic to the Demonic: On Critical Musicology (Oxford, 2003), Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris, and Vienna (Oxford, 2008), and Musical Style and Social Meaning (Ashgate, 2010). He is the editor of Music, Culture, and Society: A Reader (Oxford, 2000) and The Ashgate Research Companion to Popular Musicology (2009), General Editor of Ashgate’s Popular and Folk Music Series, and Associate Editor of Popular Musicology Online.



Emanuele Senici is Professor of Music History at the University of Rome, La Sapienza. His publications include ‘La clemenza di Tito’ di Mozart: I primi trent’anni (1791–1821) (Brepols, 1997), The Cambridge Companion to Rossini (Cambridge, 2004, as editor) and Landscape and Gender in Italian Opera: The Alpine Virgin from Bellini to Puccini (Cambridge, 2005). Between 2003 and 2008 he was co-editor of the Cambridge Opera Journal.



W. Anthony Sheppard is Professor of Music at Williams College where he teaches courses in opera, twentieth-century music, popular music, and Asian music. His research interests include twentieth-century opera and music theater, cross-cultural influence and Orientalism, and film music. His first book, Revealing Masks: Exotic Influences (p. xxx) and Ritualized Performance in Modernist Music Theater (California, 2001) received the Kurt Weill Prize, his article on Madama Butterfly and film earned the ASCAP Deems Taylor Award, and his article in the Journal of the American Musicological Society on World War II film music was honored with the Alfred Einstein Award by the American Musicological Society. His research has been supported by grants from the NEH, the American Philosophical Society, and the Institute for Advanced Study, Princeton, and he is currently completing a book entitled Extreme Exoticism: Japan in the American Musical Imagination. Sheppard frequently delivers lectures for the Metropolitan Opera Guild and is Editor-in-Chief of the Journal of the American Musicological Society.



Louise K. Stein is Professor of Musicology at the University of Michigan. She held visiting appointments at University of North Carolina, Chapel Hill, Universidad Complutense in Madrid, and the University of Chicago, and fellowships from the Fulbright Foundation, ACLS, NEH, the American Philosophical Society, the Gladys Krieble Delmas Foundation, Spain’s Ministry of Culture, and the Institute for the Humanities at Michigan. Her research concerns early modern music and theater, patronage, the history of singing, and the politics and economics of opera production. Her book Songs of Mortals, Dialogues of the Gods: Music and Theatre in 17th-Century Spain (Oxford, 1993) received the First Book Prize from the Society for Spanish and Portuguese Historical Studies, and her collaborations have resulted in prize-winning recordings, such as ¡Ay amor! (Harmonia Mundi; Mary Springfels and the Newberry Consort), and Jordi Savall’s performances of the first extant Spanish opera, Celos aun del aire matan by Juan Hidalgo (Recent Researches in the Music of the Baroque Era, A-R Editions, 2014). She was artistic advisor to the BMG recording of the first New World opera, La púrpura de la rosa (her critical edition, Madrid, 1999). In 1996 the American Musicological Society recognized her with the Noah Greenberg Award for “distinguished contributions to the study and performance of early music.”



Katherine Syer is Associate Professor of Musicology and Theatre History at the University of Illinois at Urbana-Champaign. Her writings on opera production history and Wagner have appeared in the revised English National Opera Guide to Der fliegende Holländer (2012), Musical Quarterly (2011), Wagner and His World (Princeton, 2009) edited by Thomas Grey, and The Wagner Journal. She co-edited, with William Kinderman, A Companion to Wagner’s ‘Parsifal’ (Camden House, 2005), to which she contributed two chapters. Syer’s book Wagner’s Visions: Poetry, Politics, and the Psyche in the Operas through ‘Die Walküre’ (Rochester, 2014) explores the historical/political basis of the psychological dimension of his operas.



Linda J. Tomko is a historian, dancer, and embodier of dances past. She earned the Ph.D. in History at UCLA and conducts research in two areas: dance in the early twentieth-century United States and theater and court dance in early eighteenth-century France and England. Her book Dancing Class: Gender, Ethnicity, and Social Divides in American Dance, 1890–1920 was published by Indiana University Press (1999). She was a founding member of Les Menus Plaisirs, a Baroque dance troupe, and she led a group of dancers in performance with the early music band Musica Pacifica at the 2012 Berkeley (p. xxxi) Festival and Exhibition. Tomko is Associate Professor of Dance at the University of California, Riverside, where she chaired the Department of Dance for two different periods during the past decade. She is a Past President of the Society for Dance History Scholars, and she is Dance & Music series editor for Pendragon Press.



John Warrack was formerly Lecturer in Music at Oxford University. His books include Carl Maria von Weber and an edition of Weber’s Writings on Music (Cambridge, 1981), German Opera: from the Beginnings to Wagner (Cambridge, 2001), and the Cambridge Opera Handbook to Wagner’s Die Meistersinger von Nürnberg (1994). He is also co-author of the Oxford Dictionary of Opera, and has edited Weber’s Piano Concerto N. 1 in C Major (WeV N.9) for the Neue Weber Gesamtausgabe and co-edited (with Richard Macnutt) Gunther Braam’s The Portraits of Berlioz (NBE 26) for the New Berlioz Edition.



Paul Watt is Lecturer in Musicology at Monash University, Australia. With Patrick Spedding, he is editor of Bawdy Songbooks of the Romantic Period (Pickering & Chatto, 2011), and his studies of nineteenth-century music have been published in Music & Letters, the Royal Musical Association Research Chronicle, and Nineteenth-Century Music Review. Dr. Watt earned his Ph.D. from the University of Sydney, and has held visiting fellowships at the School of Advanced Studies of the University of London, and the Humanities Research Center, University of Texas, Austin. He is currently writing a critical biography of Ernest Newman and a history of music criticism in nineteenth-century England.



Marc A. Weiner is Professor of Germanic Studies and Adjunct Professor of Comparative Literature, Communication and Culture, and Culture Studies at Indiana University, Bloomington. He is the author of Undertones of Insurrection: Music and Cultural Politics in the Modern German Narrative (Transaction, 2009), Richard Wagner and the Anti-Semitic Imagination (Nebraska, 1995, 1997), which won the Eugene M. Kayden National University Press Book Award for best book in the Humanities, and Arthur Schnitzler and the Crisis of Musical Culture (Carl Winter, 1986). He has received fellowships from the German Academic Exchange Service, the Andrew W. Mellon Foundation, the Alexander von Humboldt Foundation, and the Richard Wagner Gedenkstätte in Bayreuth. He writes regularly for the Lyric Opera of Chicago.



Simon Williams is Professor of Theater and Dance at the University of California, Santa Barbara. He has published widely on the history of acting, Shakespearean performance, opera as drama, and the history of operatic staging, including two books on Wagner, including Wagner and the Romantic Hero (Cambridge, 2004, 2010). He has served for several years as Opera News critic for Los Angeles and Santa Fe. He is co-editor of the first History of German Theatre (Cambridge, 2008), and is chief editor of the forthcoming Cambridge World Encyclopedia of Stage Actors and Acting. He is a director of opera and spoken drama.



Alexandra Wilson is Reader in Musicology at Oxford Brookes University, where she co-directs the OBERTO opera research unit. Her research focuses on late-nineteenth- and early-twentieth-century opera and operatic culture, and on postmodern interpretations (p. xxxii) and appropriations of opera. She has published her work in Cambridge Opera Journal, Music & Letters, and The Opera Quarterly, and is author of The Puccini Problem: Opera, Nationalism, and Modernity (Cambridge, 2007), for which she earned the American Musicological Society’s Lewis Lockwood Award. Her latest book is Opera: A Beginner’s Guide (Oneworld, 2010).