I am working at present in several areas: the construction of national identity in 18th-century British dramatic music; performers and selfhood in eighteenth-century music (continuing the approach in my book, The Rival Sirens); country-house opera in the twentieth and twenty-first centuries. Applications for postgraduate study in any of these areas are welcome. Further details on applying to the Faculty of Music are available here.
Books
Articles
Book Chapters
Dictionary articles
Reviews
Books
- Operatic Geographies, edited (University of Chicago Press, under contract)
- Edinburgh Companion to Literature and Music, edited Part 3: The Eighteenth Century; general editor: Delia Da Sousa (Edinburgh University Press, forthcoming: 2017)
- The Rival Sirens: Performance and Identity on Handel’s Operatic Stage (Cambridge University Press, 2013)
- Word and Music Studies 4 (Rodopi: Amsterdam, 2002), co-edited with Suzanne Lodato and Walter Bernhart
Articles
- ‘Filial Enchaînements’, Cambridge Opera Journal 28/2 (2016), 119-25
- ‘Handel’s Epigones in the late 18th Century’, Händel Jahrbuch 2016, 251-63
- ‘Crafting the Eighteenth-Century Singer: Introduction’, Cambridge Opera Journal 27/3 (2015), 187-88
- ‘Sancta Cæcilia Rediviva’. Elizabeth Linley: Repertoire, Reputation and the English Voice’, Cambridge Opera Journal 27/3 (2015), 263-87
- ‘Bach and the Feminised Galant’, Understanding Bach 5 (2010)
- ‘The “rival queans” and the play of identity in Handel’s Admeto’, Cambridge Opera Journal 18/3 (2006), 301-31
- ‘Desiring Handel: Biography and the Strategies of Possession’, review article of Ellen T. Harris, Handel as Orpheus: Voice and Desire in the Chamber Cantatas (Cambridge, MA, 2001); Peter Kivy, The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius (New Haven, 2001); Donald Burrows and Rosemary Dunhill, Music and Theatre in Handel’s World: The Family Papers of James Harris, 1732-1780 (Oxford, 2002), Music and Letters 85/1 (2004), 62-82
- ‘Managing Passions: the Business of Opera in Eighteenth-Century London’, review article of Ian Woodfield, Opera and Drama in Eighteenth-Century London (Cambridge, 2001), and Judith Milhous, Gabriella Dideriksen, and Robert D. Hume, Italian Opera in Late Eighteenth-Century London, Volume II: The Pantheon Opera and its Aftermath, 1789-1795 (Oxford, 2001), Journal of the Royal Musical Association 128 (2003), 123-36
- ‘“Fam’d Handel breathing, tho’ transformed to stone”: the Composer as Monument’, Journal of the American Musicological Society 55/1 (2002), 39-90
- ‘Ariadne’s Clew: Politics, Allegory, and Opera in London (1734)’, The Musical Quarterly 85/4 (2001), 735-70
- ‘Singers’ Blueprints’, review article of C. Steven LaRue, Handel and His Singers (Oxford, 1995), Cambridge Opera Journal 9 (1997), 185-93
- ‘Ballads and Britons: Imagined Community and the Continuity of “English” Opera’, Journal of the Royal Musical Association 122/1 (1997), 24-51
- ‘“An infinity of factions”: Opera in Eighteenth-Century London and the Undoing of Society’, Cambridge Opera Journal 9/1 (1997), 1-19, republished in Opera Re-Made, ed. Charles Dill (Ashgate, 2010)
Book Chapters
- ‘Performers’, in Handel in Context, ed. Annette Landgraf and Helen Coffey (Cambridge, 2018, forthcoming)
- ‘Maps and Metaphors: Opera and the (Urban) Geography of Opera’, in Operatic Geographies, ed. Suzanne Aspden (University of Chicago Press, forthcoming)
- ‘Pastoral Retreats: Playing at Arcadia in Modern Britain’, in Operatic Geographies, ed. Suzanne Aspden (University of Chicago Press, forthcoming)
- 'Music, Words, and Literary Debate on Aesthetics in the Eighteenth Century’, in Edinburgh Companion to Literature and Music, Part 3: The Eighteenth Century, ed. Suzanne Aspden; general editor: Delia Da Sousa (Edinburgh University Press, forthcoming, 2017)
- ‘The difficulties of writing English opera’, in Edinburgh Companion to Literature and Music, Part 3: The Eighteenth Century, ed. Suzanne Aspden; general editor: Delia Da Sousa (Edinburgh University Press, forthcoming 2017)
- ‘Disseminating and Domesticating Handel in Mid-Eighteenth-Century Britain’, in Beyond Boundaries, ed. Linda Austern, Candace Bailey, Amanda Eubanks Winkler (Indiana University Press, 2016)
- ‘The Role of the Countertenor on the Eighteenth-Century English Stage’, in Der Countertenor. Die männliche Falsettstimme vom Mittelalter zur Gegenwart, ed. Corinna Herr, Arnold Jacobshagen and Kai Wessel (Schott, 2013)
- ‘Opera and National Identity’ in The Cambridge Companion to Opera Studies, ed. Nicholas Till (Cambridge University Press, 2012)
- ‘Arne’s Paradox: National Opera in Eighteenth-Century Britain’, in Word and Music Studies 4, ed. Suzanne Lodato, Suzanne Aspden, Walter Bernhart (Rodopi: Amsterdam, 2002), 195-215
Dictionary articles
- New Dictionary of National Biography: new articles on Henry Carey, Willem deFesch, Francesca Margherita de l’Epine, John Frederick Lampe, Linley family, Thomas Mountier, Charles Frederick Reinhold, Thomas Reinhold, Elizabeth Linley
Reviews
- G. F. Handel, Rodelinda, ed. Andrew Jones (Hallische Händel-Ausgabe, Serie II: Opern, Bd.16), Notes 63/2 (2006), 431-35
- David Wyn Jones, ed. Music in Eighteenth-Century Britain (Ashgate: Aldershot, 2000), Music and Letters 83 (2002), 611-14
- Phyllis T. Dircks, The Eighteenth-Century English Burletta (University of Victoria: Toronto, c1999), Music and Letters 82 (2001), 111-12
- G. F. Handel, Rinaldo (1731) (Hallische Händel-Ausgabe, Serie II: Opern, Bd. 4.2), Tamerlano (Hallische Händel-Ausgabe, Serie II: Opern, Bd. 15), Notes (December 1998)
- Jane Girdham, English Opera in Late Eighteenth-Century London (Oxford, 1997), Notes (December 1998)