Music in the Baroque. Western Music in Context: A Norton History (New York: W.W. Norton, 2013)

Anthology for Music in the Baroque (W.W. Norton, 2013)

Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice (Berkeley: University of California Press, 2003)

Animating Ovid: Opera and the Metamorphosis of Antiquity in Early Modern Italy (in preparation)


Performing Homer: The Voyage of Ulysses from Epic to Opera, edited with Eleonora Stoppino (Routledge, 2019)

Staging History: Historical Drama in Britain and America, 1780–1860, edited with Michael Burden Jonathan Hicks and Ellen Lockhart (Oxford: Bodleian Library Publishing, 2016)

Cambridge Opera Journal, Vol. 15 no. 3 (2003); Issue on Dance and Venetian Opera. Co-edited with Rebecca Harris-Warrick, Cornell University (includes Irene Alm, “Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera,” manuscript compiled and edited posthumously by Wendy Heller and Rebecca Harris-Warrick, Cambridge Opera Journal 15 no. 3 (2003), 216-280)


Cavalli, Francesco, Veremonda, l’amazzone di Aragona, Francesco Cavalli, Opere (Kassel: Barenreiter, in preparation)

Handel, George Frideric. Admeto, Re di Tessaglia. Hallische Handel Ausgabe (Kassel: Bärenreiter, in preparation)


“Listening to Baroque Music History,” Norton Guide to Teaching Music History, ed. C. Matthew Balensula (New York: Norton, 2019)43-56.

“Rescuing Ariadne.” Early Music 45 (2017), 377-392 

“The Triumph of Poppea: Virtue, Vice, and Song in the Venetian Republic,” in Opera:  Passion, Power, and Politics, ed. Kate Bailey (London:  V & A Publications, 2017).

“A Tale Founded Upon the Facts: ’The Exiles in Britain and America,” in Staging History: Historical Drama in Britain and America, 1780–1860edited by Wendy Heller, Michael Burden, Jonathan Hicks, and Ellen Lockhart (Oxford: Bodleian Library Publishing, 2016), 160-177 

“‘Aus eigener Erfahrung redet’: Bach, Luther, and Mary’s Voice in the Magnificat, BWV 243,” Understanding Bach 10 (2015). 31-29

“Barbara Strozzi and the Taming of the Male Poetic Voice,” in Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century, edited by Dinko Fabris and Margaret Murata (Belgium: Brepols, 2016), 131-169.

Ovid’s Ironic Gaze: Voyeurism, Rape, and Male Desire in Cavalli’s La Calisto,” Eroticism in Early Modern Europe, edited by Bonnie Blackburn and Laurie Stras (Farmham: Ashgate, 2015), 203-225.

Opera Between the Ancients and Moderns,” in Oxford Handbook of Opera, ed. Helen Greenwald (Oxford: Oxford University Press, 2014), 275-295.

“The Veil, the Mask, and the Eunuch: Sight, Sound, and Imperial Erotics in L’incoronazione di Poppea,” in Word, Image, and Song, volume 1, edited by Rebecca Cypess, Beth Glixon, and Nathan Link (Rochester: University of Rochester Press, 2013), 145-166.

Hypsipyle, Medea, and the Ovidian Imagination: Taming the Hero in Cavalli’s Giasone,” in Readying Cavalli’s Operas for the Stage: Manuscript, Edition, Production, ed. Ellen Rosand (Farnham, Surrey, UK; Burlington, VT, 2013), 167-186.

Daphne’s Dilemma: Desire as Metamorphosis in Early Modern Opera,” in Structures of Feeling in Seventeenth-Century Expressive Culture (Toronto: University of Toronto Press, 2013), 175-208.

Ermiona and the Ballo dei beozi (1636). A Padovan Legacy for Venetian Theatrical Dance“, in Virtute et arte del danzare“. Contributi di storia della danza in onore di Barbara Sparti, ed. Pontremoli (Roma: Aracne, 2011), 115-131.

“Il canto degli dei: opera, verosimiglianza, and mitologia nel primo Seicento,” Atti del Convegno internazionale Musicologia fra due Continenti: l’eredità di Nino Pirrotta,” edited by Franco Piperno and Fabrizio della Seta (Florence: Olschki, 2010), 127-139.

Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage,” Art History 33 (2010), 304-313. Reprinted in Theatricality in Art and Architecture, ed. Caroline van Eck and Stijn Bussels (West Sussex: Blackwell, 2011).

Phaedra’s Handmaiden: Tragedy as Comedy and Spectacle in Seicento Opera,Ancient Drama in Music for the Modern Stage, ed. Peter Brown and Susanna Ograjensek (Oxford: Oxford University Press, 2010), 67-84.

“Loving Theseus: The Spectacle of Feminine Passions on the Munich Stage (1662),” Basler Jahrbuch für Historische Musikpraxis 33 (2009), 197-212.

A Musical Metamorphosis: Ovid, Bernini and Handel’s Apollo e Dafne,” Handel Jahrbuch (2008), 35-63.

“Venice’s Mythic Empires: Truth and Verisimilitude in Venetian Opera,” in Opera and Society in Italy and France from Monteverdi to Bourdieu, edited by Victoria Johnson, Thomas Ertman, and Jane Filcher (Cambridge: Cambridge University Press, 2008), 34- 52.

Venezia in Egitto: Egyptomania and Exoticism in Seventeenth-Century Venice,” in L’arte della scena e l’esotismo in età moderna / The Performing Arts and Exoticism in the Modern Age, ed. Francesco Cotticelli and Paologiovanni Maione (Naples: Turchini Edizioni, 2007), 107-121.

“‘La forza d’amore’ and ‘Monaca sforzata’: Opera, Tarabotti, and the Pleasures of Debate,” in Arcangela Tarabotti, a Literary Nun in Baroque Venice, ed. Elissa Weaver (Ravenna: Longo, 2006), 141-157.

The Castrato as Man: Trajectories from the Seventeenth Century,British Journal for Eighteenth-Century Studies 28 no. 3 (2006), 307-321.

“Usurping the Place of the Muses: Barbara Strozzi and the Female Composer in Seventeenth-Century Italy,” in The World of Baroque Music: New Perspectives, ed. George B. Stauffer. (Bloomington: Indiana University Press, 2006), 145-168.

Amazons, Astrology, and the House of Aragon: Veremonda tra Venezia e Napoli,” La circolazione dell’opera veneziana del Seicento,” ed. Dinko Fabris (Naples: Editoriale Scientifiche, 2005), 147-162.

Poppea’s Legacy: The Julio-Claudians on the Venetian Stage,” Journal of Interdisciplinary History 36 no. 3 (Winter, 2005), 279-302.

The Beloved’s Image: Handel’s Admeto and the Statue of Alcestis,” Journal of the American Musicological Society 58 no. 3 (2005), 559-637.

“Venice and Arcadia.” Musica e Storia 12 (2004), 21-34.

Dancing Desire on the Venetian Stage,” Cambridge Opera Journal 15 (2003), 281-295.

“Of Bears, Satyrs, and Diana’s Kisses: Metamorphoses in Early Modern Opera,” in Attending to Early Modern Women: Gender, Culture, and Change (Newark: University of Delaware Press, 2003), 66-97.

A Present for the Ladies: Ovid, Montaigne, and the Redemption of Purcell’s Dido,” Music & Letters 84 (2003), 192-208.

“’O delle donne miserabil sesso’: Tarabotti, Ottavia, and L’incoronazione di Poppea,Il Saggiatore Musicale 8 (2000), 5-46.

Tacitus Incognito: Opera as History in L’incoronazione di Poppea,” Journal of the American Musicological Society 52 (1999), 39-96. Reprinted in Richard Weistrich, Baroque Composers 1 (Farnham: Ashgate, 2010), 353-410 and Studies in Seventeenth-Century Opera, ed. Beth Glixon (Farnham: Ashgate, 2010), 101-153.

“O castità bugiarda: Dido, Opera, and the Convention of Abandonment,” in A Woman Scorn’d: The Myth of Dido—Queen of Carthage, ed. Michael Burden ( London: Faber and Faber, 1998), 169-225.

Reforming Achilles: Gender, Opera Seria and the Rhetoric of the Enlightened Hero,Early Music 26 (1998), 562-582. Reprinted in Ashgate Library of Essays in Opera Studies 2, edited by Charles Dill (Farnham: Ashgate, 2010), 123-137.

The Queen As King: Refashioning Semiramide for Seicento Venice,” Cambridge Opera Journal 5 (1993), 93-114.