Professor, Department of Music
Director, Program in Italian Studies
December 2009

Woolworth Center of Musical Studies
Princeton University
Princeton, New Jersey 08544
Tel: 609-258-1906 Fax: 609-258-6793


Princeton University, Assistant Professor, 1998-2004; Associate Professor, 2004-2008; Professor, 2008-
Harvard University, Villa I Tatti, Harvard University Center for Italian Renaissance Studies, 2006-7
Columbia University, Society of Fellows in the Humanities, Postdoctoral Fellow/Lecturer 1997-8
Brandeis University, Visiting Assistant Professor, 1996
Tufts University, Visiting Lecturer, 1995
The Boston Conservatory, Adjunct Lecturer, 1995
Connecticut College, Adjunct Lecturer, 1993, 1995
New England Conservatory of Music, Instructor, 1989-91 

Brandeis University, Ph.D. in Musicology, 1995
New England Conservatory Of Music, M.M in Musicology, 1986
      With Academic Honors and Distinction in Performance
 New England Conservatory of Music, B.M. in Vocal Performance, 1978


American Council of Learned Societies, Friedrich S. Burkhardt Fellowship, 2006-7
Gladys Krieble Delmas Foundation Grant, Grant for Research in Venice, 2006-7
American Council of Learned Societies, Sabbatical Grant, 2006-7 (declined)
American Philosophical Society Sabbatical Grant, 2006-7 (declined)
New England Conservatory, Honorary Alumna, 2003
Princeton University, Samuel E. Davis Preceptorship, 2002-5
Oxford University, New College, Visiting Fellowship, 2001            
American Academy Rome:  Rome Prize in Post-Classical Humanistic/Italian Studies, 2000-1
Columbia University, Mellon Fellow in Music, Society of Fellows in the Humanities, 1997-8
Gladys Krieble Delmas Foundation Grant, Grant for Research in Venice, 1996 
National Endowment for the Humanities, Fellowship for Independent Scholars, 1996-7
National Endowment for the Humanities, Dissertation Fellowship, 1994
American Musicological Society, AMS 50 Dissertation Fellowship, 1993
Brandeis University, Sachar Grant for International Study, 1991,  
Gladys Krieble Delmas Foundation, Grant for Dissertation Research in Venice, 1991, 1992


American Musicological Society, Finalist, Otto Kinkeldey Award, 2004
Society for Early Modern Women, Book Prize, 2004
            (awarded for Emblems of Eloquence:  Opera and Women’s Voices in Seventeenth-Century Venice)



 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 from Monteverdi to Handel

This book examines the aesthetics of 17th- and early 18th-century Italian theatrical music through the lens of Ovid’s Metamorphoses and the rich visual culture associated with author and his expressive world.   It shows how Ovid’s unique writing style— its lack of linear chronology, its eclectic mix of violence, pathos, and humor, and its deft blending of mythic fragments steeped in eroticism and irony—were not only favored by contemporary poets and artists (such as Marino, Poussin, or Bernini) and their patrons (such as the Barberini or Farnese), but were fundamental to the unique sensibilities of theatrical music from the time of Monteverdi to the first decades of the eighteenth century.  This is the first musicological study to analyze opera in relation to the unambiguous theatricality of seventeenth-century painting and sculpture, demonstrating how the genre’s dialogue with the past—its ability to animate an imagined ancient world with movement and sound—was also informed by the collecting, restoration, and exhibiting of antiquities.

Baroque Music in the Early Modern World.   Norton Period Histories of Music. Series editor, Walter Frisch,   (New York:  W.W. Norton), in preparation; anticipated publication 2010.  This paperback textbook is part of an innovative new series designed for music concentrators and sophisticated amateurs, presenting 17th- and early 18th-century music, musicians, patrons, and listeners in the context of the social, political, and economic circumstances of early modern life, and in the light of new scholarship.

Edited Journals and Essays:

Cambridge Opera Journal Vol. 15 no. 3 (2003); Issue on Dance and Venetian Opera.  Co-edited with Rebecca Harris-Warrick.

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. 

Scholarly Editions:

Cavalli, Francesco, Veremonda Amazzone di Aragona.  Cavalli Edition (Kassel:  Barenreiter), in preparation

Handel, G. F.   Admeto, Re di Tessaglia.  Hallische Handel Ausgabe (Kassel:  Barenreiter),
            in preparation.


“Il canto degli dei: opera, verosimiglianza, and mitologia nel primo Seicento,” Atti del Convegno internazionale“Musicologia fra due Continenti: l’eredità di Nino Pirrotta,” eds. Franco Piperno e Fabrizio della Seta(Florence: Olschki), in press.


Ovid and the Ironic Gaze:  Staging Male Desire in Cavalli’s La Calisto,” in Eros and Euterpe: Eroticism in Early Modern Music, ed. Massimo Ossi (Oxford:  Oxford University Press), in press.


“Dancing Statues and the Myth of Venice:  Ancient Sculpture on the Opera Stage,” Art History, in press.  


“Phaedra’s Handmaiden:  Tragedy as Comedy and Spectacle in Seicento Opera,” Ancient Drama in Music for the Modern Stage, ed. Peter Brown (Oxford:  Oxford University Press), in press.

"Daphne’s Dilemma:  Desire as Metamorphosis in Early Modern Opera,” in Structures of Feeling in Seventeenth-Century Expressive Culture ed. Susan McClary (Toronto: University of Toronto Press), in press.

I laberinti vivaci:  Barbara Strozzi and the Expression of Desire,” in Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century, Dinko Fabris, Margaret Murata, eds. (Utrecht: STIMU, 2008), in press.

A Musical Metamorphosis: Ovid, Bernini and Handel's Apollo e Dafne,” Handel Jahrbuch, 2008.

Venice’s Mythic Empires: Truth and Verisimilitude in Venetian Opera,” in Opera from Monteverdi to Bourdieu, Victoria Johnson, Thomas Ertman, and Jane Fulcher, eds. (Cambridge:  Cambridge University Press, 2007), 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), 143-157.

"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.  

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.

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


"Venice without Carnival: The Pierre Audi Monteverdi Cycle," Opera Quarterly, 24 (3-4), 2008: 293-306.


Winton Dean, Handel’s Operas 1726-1741 (Woodbridge, UK:  The Boydell Press),   Early Music  America, v. 14 no. 1,  2008, p. 61.

Raffaele Brandolini, On Music and Poetry (De musica et poetica, 1513).  Translated and with notes by Ann E. Moyer, with assistance of Marc Laureys.  Medieval and Renaissance Text Studies, 232 (Tempe, Arizona:  Arizona Center for Medieval and Renaissance Studies, 2001), Neo-Latin News 52 (2004), 143-145.

Anne MacNeil, Music and Women of the Commedia dell’arte in the Late Sixteenth Century(Oxford:  Oxford University Press, 2003), Early Music 32 (2004), 608-10.

Jeffrey Summit, The Lord’s Song in a Strange Land:  Music and Identity in Contemporary Jewish Worship (Oxford: Oxford University Press, 2000) Music & Letters 84 (2003), 684-688.

 Stravaganze: 17th-Century Italian Songs and Dances.  The King's Noyse, David Douglass, director, with Andrew Lawrence-King, harp.  Harmonia Mundi USA, 1995 [HMU 907159],   Journal of the Society of Seventeenth-Century Music, vol. 3        <http://www.sscm.harvard.edu/jscm/v3/no1/Heller.html>

 Gluck,La Semiramide riconosciuta, ed. Gerhard Croll and Thomas Hauschka.  Kassel: Bärenreiter in Notes 54  (1997).      

Barbara Strozzi,Cantate, ariete a una, due, e tre voci Opus 3, ed. Gail Archer (Recent Researches in the Music of the Baroque Era, 83) and Chiara Margarita Cozzolani, Motets, ed. Robert L.   Kendrick (Recent Researches in the Music of the Baroque Era, 87) in Notes 56 no. 2 (1999), 473-478.

Encyclopedia articles:

“Ariadne”; “Mime and Pantomime;” “Deus ex machina.” The Classical Tradition: A Guide, ed. Anthony T. Grafton, Glenn W. Most, and Salvatore Settis (Harvard:  Harvard University press), in press.  

“Cantors”; “Birnbaum, Abraham Baer”; “Schorr, Baruch”; “Sirota, Girshon.”The YIVO Encyclopedia of Jews in Eastern Europe (New York:  YIVO Institute, 2008).

“Monteverdi, Claudio”; “Schütz, Heinrich”; “Vivaldi, Antonio”; Palestrina, Giovanni,” Dictionary
            of Early Modrn Europe  (New York:  Charles Scribner’s Sons, 2005).

“Busenello, Giovanni Francesco.” New Grove Dictionary of Music and Musicians (2nd edn.;  London: MacMillan, 2001).

“Monteverdi, Claudio”; “Cicognini, Giacinto Andrea”; “Gay, John”; “Rinuccini, Ottavio”; “Striggio, Alessandro”; “Rospigliosi, Giulio.”  International Dictionary of Opera (Detroit:  St. James Press, 1993).

General Press:

“Wendy Heller on Handel’s Messiah,”  New York Times Website, April 23, 2007.
            < http://www.nytimes.com/2007/04/23/arts/music/23heller.html>

"Purcell's King Arthur," Program Note, New York City Opera, March 2008.

      Reviews of Emblems of Eloquence:  Opera and Women’s Voices in Seventeenth-Century Venice


Eleonora Beck, Opera Today, July 15, 2005 <http://www.operatoday.com/content/2005/07/heller_emblems_1.php>

Tim Carter, Renaissance Studies 18 (2004): 628-31.

Beth Glixon, Journal of the Society for Seventeenth-Century Music 12 (2006)


Robert Holzer, Journal of the American Musicological Society 60 (2006): 193-200.

Patricia Howard, The Musical Times 145 (2004):  91-94.

Jonathan Keates, Times Literary Supplement Dec 24 (2004): 10.

Thomasin LaMay, Renaissance Quarterly 57 (2004): 1405-6.

Hugh Mason, International Journal of the Classical Tradition 12/3 (2006): 472-474.

Anne MacNeil, Notes, 61/4 (2005): 1002-1005

Sally Sanford, Early Music America,  11/3  (Fall 2005), p. 45.

Emily Wilbourne, Cambridge Opera Journal 18 (2006): 217-224

Sarah E. Williams, Early Modern Women:  An Interdisciplinary Journal 1 (2006): 159-60.

Other news items:

James Oestreich, “Handel’s ‘Hallelujah’ Chorus:  A Malice toward Judaism?” New York Times: April 24, 2007 (also published in the International Herald Tribune and La Repubblica)


Loving Theseus:  The Spectacle of Feminine Passions on the Munich Stage (1662)

           Opera als “Gesamtkunsterk” zum Verhältnis der Künste im barocken Musicktheater”

            Schola Cantorium, Basel, Switerzland, November 2009


“Searching for Bach:  Rethinkin Women in Baroque Music” (Keynote address)

Poets, Mothers, and Performers:  Considering Women’s Impact on the Music of J.S. Bach”

Yale University, Institute of Sacred Music, October, 2009  


“Behind Poppea’s Veil:  Sight, Sound, and Imperial Erotics in L’incoronazione di Poppea

           Nordic Network for Early Opera: New Perspectives on Poppea, Stockholm, Sweden, 2009


“Un dardo pungente” Taming the Hero in Cavalli’s Giasone,”  Manuscript, Edition, and Production:   

         Readying Cavalli’s Opera For the Stage, Yale University Baroque Opera Project, April 2009


“Marsia’s Lament: Animating the Contest of Marsyas and Apollo in Barberini Rome,” Instruments  

 of Passion:  Painting, Music, and the Contest of the Arts, Metropolitan Art Museum and Columbia University, March 2009 


Learning to Lament:  Monteverdi and the Gendering of the Passions”

            Keynote Speaker, Cultural History of Emotions in Premodernity 

            Umea University, October 2008


Marsia’s Lament:  Animating the Contest of Marsyas and Apollo in Barberini Rome”

          Metamorphoses of Orpheus, Corfu, Ionian Academy, June 2008


“Il canto degli Dei: opera, verosimiglianza e mitologia nel primo Seicento,”

                 Convegno Internazionale Musicologia fra due continenti: l'eredita' di Nino Pirrotta

     Universitià di Roma (“La Sapienza”), June 2008

“Cupid Disarmed: Mythic Musings in La virtù de’ strali d’Amore
      Symposium, Eastman School of Music, Rochester NY, November 2007

 “Fedra’s Handmaiden:  Tragedy as Comedy and Spectacle in the Seicento”
            Ancient Drama in Modern Opera, 1600-1800, University of Oxford, Classics Centre,
             July 2007

“Handel and Ovid:  Sight, Sound, and Metamorphoses in Settecento Italy”
      Myth and Allegory in Handel’s Music, Handel-Festspiele in Halle an der Saale 
      June 2007

“Animating Arcadia:  Ovid through Opera’s Mirror”
      Seminar in Italian Studies, Villa Spelman, Florence, Italy, May 2007
      Villa I Tatti, Harvard University Center for Italian Renaissance Studies, Florence, Italy, February, 2007

“Handel’s Messiah and Anti-Judaism:  A Response to Michael Marissen”
      American Handel Society, Princeton University, April 2007
“Le donne trasformate: Temi Ovidiane nell’opera del Seicento”
      Colloquium, Università degli Studi di Roma (“La Sapienza”), Rome, Italy, February 2007
      “Universa Musica,” Università Basilicata, Potenza, Italy, March 2007
“Humanism, Myth, and the Dark Ages:  Rethinking Antiquity in Seicento Opera” 
            Symposium on “The Embodied Myth in the dramma per musica,”  Royal Conservatory of Music, Brussels, December 2006

“Playful Passions:  Barbara Strozzi and the Expression of Desire”
       Biennial Baroque Conference, University of Warsaw, Warsaw, Poland, July 2006
       Utrecht Early Musica Festival, Utrecht, Holland:  “’Passagio in Italia’: Music of the Grand Tour in 17th-century Italy,” August 2006

“Poppea’s Veil: Gender and Empire in L’incoronazione di Poppea.”
      University of Houston:  Colloquium, Department of Italian Studies and Women’s Studies

“Il bel imago”: Portraits and Lovers in Early Modern Opera”
      Renaissance Society of America, San Francisco California, March 2006

“Transforming Ovid: Love, Desire and Metamorphosis in Cavalli’s Gli Amori d’Apollo e di Dafne
            Keynote Address, Performance of Francesco Cavalli, Gli Amori di Apollo e di Dafne, Bowling Green State University, November, 2005

“Daphne’s Dilemma:  Desire as Metamorphosis in Early Modern Opera”
            Structures of Feeling: Genders and Sexualities, Clark Library, UCLA, January 2005
            Columbia University Music Department Colloquium Series, October 2005
            Notre Dame Music Department, Colloquium Series, November 2005
            University of Tenessee at Knoxville, February 2006
            Duke University, January 2006

Pan’s Breath and Apollo’s Bow:  The Recuperation of Antiquity in Seventeenth-Century Opera”
            Annual Meeting of the American Musicological Society, Seattle, November 2004 

Pan’s Pipes and the Triumph of Bacchus: Rethinking Antiquity in Early Modern Opera“
            Opera Seminar, Humanities Center, Harvard University, October 2004
Venezia in Egitto:  Egyptomania and Exoticism in Seventeenth-Century Venice”
            L’arte della scena l'esotismo in età moderna, Istituto Universitario Suor Orsola Benincasa,
            Naples, Italy, June, 2004

“Nymphs. Satyrs, and the Dances of Pan:  Opera and the Rhythm of Arcadian Sexualities”
                 Music History Colloquium, Trinity University, February 2004
                  Eros and Euterpe: A Conference on Music and Eroticism, Indiana University,
                  Bloomington, February 2004
                 Seminar on Music and Sexual Aggression, Utrecht Early Music Festival, Utrecht, Holland, August, 2001
                  Renaissance Society of America, Scottsdale, Arizona, April, 2002

Poppea’s Legacy:  The Julio-Claudians on the Venetian Stage”
            Musicology Colloquium, University of Kentucky, November 2003
            Conference on Opera and Society, Princeton University. March 2004

“The Beloved’s Image:  Handel’s Admeto and the Statue of Alcestis” 
            The Reception of Greek Tragedy Since Antiquity, Columbia University, April, 2003
            Musicology Colloquium Series, Yale University, April, 2003

““I pianti d’Apollo: Desire, Melancholy, and the Power of Song” ” 
            Society for the Study of Seventeenth-Century Music, La Jolla, California, April 2004.
            International Symposium on Music and Melancholy: 1400-1800, Princeton University, October, 2002

"Venice and Arcadia” 
            Intrecci: drammaturgica dell’opera seicentesca, Fondazione Ugo e Olga Levi, Venice, Italy, October, 2002

“Amazons, Astrology, and the House of Aragon: Veremonda tra Veneia e Napoli ”
             La Circolazione dell'opera veneziana nel Seicento, Istituto Universitario Suor Orola Benicasa, Naples, Italy, October 2002

“Opera and Metamorphoses:  Hearing Antiquity in Baroque Italy”
             Davidson College Colloquium, Davidson, North Carolina, September 27, 2002

“Ovid and the Heroine’s Voice”
            Society for Early Modern Women, Graduate Center, City University of New York, 
            May, 2002
“Opera and Roman History” 
            Bucknell Humanities Institute, Bucknell University, April,  2001

“Transforming Desire:  La Calisto in Word, Sound, and Image”
            Fellows Lecture, American Academy in Rome, November, 2000 

“Diana and the Music of Pan:  Spheres of Desire in Cavalli’s La Calisto
            Oxford University Colloquium, Faculty of Music, February 2001
            Musicology Colloquium Series, Eastman School of Music, Rochester, November, 2000

"Of Bears, Satyrs, and Diana’s Kisses:  Metamorphoses  in Early Modern Opera”
            Attending to Early Modern Women, Center for Renaissance and Baroque Studies, University of Maryland, November, 20001

“Poppea’s Veil:  Exploring Female Eloquence in Monteverdi’s Last Opera”
                  University of South Carolina, Department of Music Lecture, September, 2000

“Oratorio and Greek Tragedy:  Salvation in Handel’s Jephtha
                  College of Holy Cross, February,  2000.

“Imperial Visions and Operatic Deceptions:  Listening to Rome in Handel’s Agrippina (1709)”
                  Twenty-Third Annual Conference of the Northeast American Society for Eighteenth-Century Studies, December, 1999

“The Pleasures of Self-Sacrifice:  Handel's Admeto on the Journey from Venice”
            American Handel Society, Maryland Handel Festival,  November, 1998

“Reforming Achilles:  Gender, Opera Seria, and the Rhetoric of the Enlightened Hero”
             Annual Meeting of the American Musicological Society, Boston, MA, October, 1998.

La retorica delle puttane:  Constructing the Courtsan in Venetian Opera” 
            New England Conservatory of Music, Colloquium Series, February 1999
            University of Cincinnati, Music Department Colloquium Series, January 1999

“The Rhetoric of the Enlightened Hero:  Gender and Operatic Reforms in Early 18th-century Italy”
            International Musicological Society, London, England, August, 1997

“‘Di Monaca in Musa’:  Arcangela Tarabotti and the Opera of Venice” ”              
           Arcangela Tarabotti:  A Literary Nun in Baroque Venice, Chicago Humanities Institute, University of Chicago, 1997

“Pornography and Print Culture in Sixteenth Century Italy”              
           Response, Annual Meeting of the American Musicological Society, Baltimore, November, 1996

Tacito Incognito: Opera as History  in L’incoronazione di Poppea
            International Society for the Classical Tradition, Tübingen, Germany, July, 1998
            Columbia University, Society of Fellows, Fellows Lecture, 1997
            Seventh Biennial Conference on Baroque Music, University of Birmingham, July, 1996

La donna di poche parole commendata:  Arianna’s Curse and the Problem of Female Eloquence in Opera”
            Annual Meeting of the American Musicological Society, New York, November, 1995

O castità bugiarda:  Dido, Opera, and the Convention of Abandonment”
            Interdisciplinary Symposium, New College, University of Oxford, April 1995

“Messalina and Operatic Eroticism in Venice”
           The Making of Culture 1500-1800, University of Michigan, Ann Arbor, February 1996
           Duke University, Music Colloquium Series, October, 1994.
            Colby College Colloquium for Music/Women Studies, October, 1994  

“Women who Lament and Women who Don't:  Singing in and Outside the Convention of Seicento Opera”
            Sixth Biennial Conference on Baroque Music, Edinburgh, Scotland, July, 1994
            Society for Seventeenth Century Music, Eastman School of Music, April, 1994
             New England Chapter of the American Musicological Society, MIT, October, 1994

“Arcangela Tarabotti and Busenello's Octavia:  Defending Women in the Opera of Venice”
            Annual Meeting of the American Musicological Society,  Montréal,  November, 1993
            Society for Seventeenth Century Music, University of Washington, St. Louis, 1993

“The Queen as King:  The Refashioning of La Semiramide  for Seicento Venice”
              Annual Meeting of the American Musicological Society, Chicago, November. 1991


Brandeis University, Bucknell University, College of Holy Cross, Columbia University, Cornell University, Davidson College, Duke University, Eastman School of Music,  New England Conservatory, Trinity University Università degli studi di Roma (“La Sapienza”), University of Chicago, University of Cincinnati, University of Houston, University of North Carolina (Chapel Hill),  University of Oxford, University of Oregon, University of Pennsylvania, University of South Carolina, University of Texas at Austin,  University of Tennessee, Yale University


Search Committee, Choral Conductor, 2009

Search Committee, Music Librarian, Mendel Library, 2009

Trustee Committee on Honorary Degrees, 2008-

Priorities Committee, 2008-

Committee on the Graduate School, Fellowship Subcommittee, 2007-

Committee on the Graduate School, Subcommittee on Financial Policies, 2008

Committee on Princeton-Royal College of Music collaborative program, 2006-7

Director, Program in Italian Studies, 2005-

Director of Graduate Studies, Musicology, 2004-6; 2007-

Reappointment Committee, Richard Tang Yuk, Fall 2005-

Board Member, Center for Jewish Life, 2005-

Member of Task Force, Council for the Humanities, Spring 2005

Committee on Public Speakers, 2003-2005



Interdepartmental Committee for the Program in Italian Studies, 2001-  
      Assumed Directorship, 2005-
Interdepartmental Committee for the Program in Judaic Studies, 2004-
Interdepartmental Committee for the Program in Women and Gender Studies, 2005-
Interdepartmental Committee for the Program in Renaissance Studies, 2005-

Center for the Study of Religion, Funding of Freshman Seminar (Song and Spirituality:  Music and Liturgy in the Judeo-Christian Experience), 2003

Participant, Panel Discussion on Graduate Study in the Humanities, chaired by Anthony Grafton, McGraw Center, December, 2001.


Journal of the American Musicological Society, Editorial Board, 2001-6
Journal of Musicology, Advisory Board, 2001-
Cambridge Opera Journal, Associate Editor 1998-2003; Editorial Board, 2003-
Journal of Seventeenth-Century Music, Editorial Board, 1996-
Early Modern Women: An Interdisciplinary Journal, Advisory Board, 2006-

Regular reviewer of manuscripts and essays from Oxford University Press, Music & Letters, JAMS, Cambridge University Press


American Musicological Society

American Handel Society

Society of Fellows, American Academy in Rome 

Society for Seventeenth-Century Music

Society for Early Modern Women
      Chair, Prize Committee, 2006-7
      Member, Prize Committee, 2005-

Renaissance Society of America, member, 1998- 


Performing Homer:  From Epic to Opera, January 2009 (conference organized in conjunction with the Princeton University performance of Return of Ulysses)

American Handel Society, Biennial Meeting at Princeton University, April 2007

 Society for Seventeenth Century Music, Annual Meeting at  Princeton University, April 2002  

Attending to Early Modern Women, Conference in conjunction with the Center for Renaissance and Baroque Studies, University of Maryland, November 2002; 2004; 2006

Working Group for Opera and Society, Social Science Research Council, New York, NY


Susan Lewis Hammond, “Collecting Italia Abroad: Anthologies of Italian Madrigals in the Print World of Northern Europe” (2001)

           Winner, AMS 50 Dissertation Fellowship; Assistant Professor of Music, University of Victoria, Victoria, Canada


Stefanie Tcharos, “Beyond the Boundaries of Opera: Conceptions of Musical Drama in Rome, 1676-1710” (2002)

            Winner, AMS 50 Dissertation Fellowship; Assistant Professor of Music, University of California at Santa Barbara


Michele Cabrini, “Expressive Polarity: The Aesthetics of Tempête and Sommeil in the French Baroque Cantata, 1700-1730” (2005)

           Assistant Professor of Music, Hunter College


Maria Ann Purciello, “And Dionysus Laughed:  Opera, Comedy,and Carnival in Seventeenth-Century Venice and Rome,” (2005)

           Assistant Professor of Music, West Chester State University


Marisa Biaggi, “Ogni amante è guerrier: Monteverdi and the War of Love in Early Modern Italy (2006)

            Winner, AMS 50 Dissertation Fellowship; Editorial and Communications Department, Metropolitan Opera


Valeria De Lucca, “The Colonnas and Music Patronage in Rome, Venice, and Naples, 1659-1689,” (November, 2008)

            Winner, ACLS/Mellon Foundation Dissertation Completion Fellowship



Princeton University, 1998-

Graduate Seminars: 

MUS 515: Performing Opera: Il Ritorno d'Ulisse
MUS 515:  Opera and Gendered Voices in Early Modern Europe
MUS 518:  Music of J.S. Bach
MUS 518:  Handel in Italy
MUS 515:  Culture and Politics in Venetian Opera
MUS 515:  Operas of Cavalli
MUS 518:  Handel:  Sources and Interpretation
Graduate Programs for Musicology Students:
Graduate Dissertation Writing/Professional Development Workshops
Founder, Work-in-Progress Series, Musicology Program
Undergraduate courses: 
MUS 103:  Introduction to Music
MUS 234:  Music in the Baroque Era
MUS 323: Italian Madrigal and Opera, 1575-1650
MUS 210:  Opera
MUS 211/225: The Symphony from Haydn to Stravinsky
MUS 303: Handel and Bach
MUS 271: Baroque Music and Dance through Study and Performance
MUS 331/ CLA 331 Opera and the Classical Tradition
MUS 341/ WOM 341:  Topics in Gender and Music:  Women, Music, and the Stage
Junior Seminar for Music Majors
Freshman Seminar:  Opera and Carnival
Freshman Seminar:  Music and Liturgy in the Judeo-Christian Experience

15. PUBLIC LECTURES (partial listing-recent)

Panel Discussion, "Monteverdi's L'incoronazione di Poppea," Boston Early Music Festival, with Stephen Stubbs, Gilbert Blin, Paul O'Dette, Ellen Rosand, Tim Carter, June 2009

Panel Discussion, "Bach St. John's Passion and Anti-Judaism," Princeton Pro Music, April 2009

" Forbidden Song: Listening to Women's Voices in the Jewish Tradition," East Windsor Hadassah Chapter, April 2009

“Illicit Pleasures and Tragic Dignity:  An Afternoon with Handel’s Flavio,” Matinee Lecture, New York City Opera, April 2007

“St. Matthew Passion: Bach, Universality, and the Experience of Faith,” Pre-concert lecture, Princeton University Glee Club, April 2006

Panel Discussion, “Cavalli Roundtable,” with Paul O’Dette, Massimo Ossi, Mary Doyle, Bowling Green State University, November 2005

Egisto and Opera in Venice,” Pre-concert lecture, Princeton University Opera Theater, January 2005

La Calisto:  An Introduction to the Opera,” Pre-concert lecture, Princeton University Opera Theater, January, 2003

“From Iphis to Iphigenia:  Handel’s Jephtha and the Music of Virginity,” Pre-concert and chorus lectures, Berkshire Choral Festival, Sheffield, MA, July 1999


American Musicological Society Benefit Cabaret, November, 2007
Art song recital, American Academy in Rome, April 2001
Cantor and Director Of Music, Congregation Klal Yisrael, Stoughton (MA), 1986-1998

Vocal studies with Susan Clickner, Joan Heller, Kim Scown, Martha Elliott    
Studies in art-song repertoire at the Banff Centre for the Arts
Studies in opera at the Minnesota Opera Company, New England Conservatory