Publications


BOOKS:

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)


EDITED BOOKS AND VOLUMES

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)

Performing Homer: The Voyage of Ulysses from Epic to Opera, edited with Eleonora Stoppino (Ashgate Press, in preparation)

 


CRITICAL EDITIONS:

Cavalli, Francesco, Veremonda, l’amazzone di Aragona, Francesco Cavalli, Opere (Kassel: Barenreiter, 2017)

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


ESSAYS:

Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court,” Dramatic Experience: The Poetics of Drama and Early Modern Public Sphere(s) edited by Kiril Ospovat, Tatiana Korneeva, and Katja Gvozdeva, for the series Drama and Theatre in Early Modern Europe (Leiden and Boston: Brill, 2016), 118-139.

“‘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.

Advertisements