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

• 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)

---