Gurminder Kaur Bhogal is Assistant Professor of Music at Wellesley College. Recent publications include "Breaking the Frame: Arabesque and Metric Complexity in Ravel's Sunrise Scene," Zeitschrift der Gesellschaft für Musiktheorie), and "Debussy's Arabesque in Ravel's Daphnis et Chloé (1912)," Twentieth-Century Music. She is currently preparing a monograph that explores the significance of ornament in early twentieth-century French music and culture.
Joy H. Calico is Associate Professor of Musicology at the Blair School of Music, Vanderbilt University, where she teaches courses on music since 1800 and on opera. She is the author of Brecht at the Opera (University of California Press, 2008), and has published articles in Cambridge Opera Journal, Opera Quarterly, Musical Quarterly, Journal of Musicology, and several anthologies. Her research on German opera has been facilitated by grants from the DAAD, the NEH, the Berlin Program for Advanced German and European Studies, and the American Academy in Berlin. Her current project on Schoenberg reception in postwar Europe is supported by the Howard Foundation and by an ACLS Frederick Burkhardt Residential Fellowship for Recently Tenured Scholars.
Terry Castle teaches at Stanford University, where she is the Walter A. Haas Professor in the Humanities. Her many interests include eighteenth-century English literature, opera history and performance, lesbian literature, the First World War, and contemporary art, music, and photography. She is the author of seven books and contributes regularly to the Atlantic, London Review of Books, TLS, New Republic, Slate, and New York Times Book Review. Her homage to the German opera singer Brigitte Fassbaender appears in her book, The Apparitional Lesbian: Female Homosexuality and Modern Culture (Columbia University Press, 1994).
Susan C. Cook is Professor of Music and the Associate Dean for Arts and Humanities in the Graduate School at the University of Wisconsin-Madison. Her teaching and research focus on contemporary and American musical culture and the intersections of race, gender, and national identities. She co-edited the award-winning collection Cecilia Reclaimed: Feminist Perspectives on Gender and Music (University of Illinois Press, 1993), and has contributed essays to The Cambridge History of Twentieth-Century Music, ed. N. Cook and A. Pople (Cambridge University Press, 2004), The Garland Encyclopedia of World Music (Garland, 1998-2002), Teaching Music History, ed. M. Natvig (Ashgate, 2002), and Audible Traces: Gender, Identity, and Music, ed. L. Hamessley and E. Barkin (Carciofoli, 1999).
Rachel Cowgill is Professor of Musicology at Liverpool Hope University, and editor of the Journal of the Royal Musical Association. Her research encompasses British music and musical cultures, Italian opera, Mozart reception, and gender and sexuality, and has appeared in Cambridge Opera Journal, Journal of the Royal Musical Association, Early Music, Musical Times, and collections from Ashgate, Oxford University Press, Princeton University Press, and Berliner Wissenschafts-Verlag. Rachel co-edited Europe, Empire, and Spectacle in Nineteenth-Century British Music (Ashgate, 2006), Music in the British Provinces, 1690-1914 (Ashgate, 2007), and Art and Ideology in European Opera (Boydell & Brewer, 2010),, and has books in progress on blackface minstrelsy and the English reception of Mozart's Requiem. She is series co-editor for Boydell & Brewer's "Music in Britain, 1600-1900."
James Currie is Assistant Professor of Music History in the Department of Music at the University of Buffalo (State University of New York), having previously taught at Loyola University in New Orleans and been a member of the Society of Fellows in the Humanities at Columbia University in New York. His work is located at the intersections between music, philosophy, and politics, and has appeared in the Journal of the American Musicological Society, Musical Quarterly, Music and Letters, Popular Music, Nineteenth-Century Music Review, Women and Music, and in Mozart Studies (ed. Simon Keefe). His book, Music and the Politics of Negation is under contract with Indiana University Press. He is also active as a performance artist.
James Q. Davies is an Assistant Professor of Music at University of California, Berkeley. Born in Cape Town, South Africa, he trained and worked in Johannesburg, Manchester, and London. Before arriving in Berkeley, he was a Research Fellow in Music at Gonville & Caius College, Cambridge, having also completed his doctoral dissertation there. His work involves the cultural history of performers and performance. He has published studies of danced Beethoven symphonies, colonial melodrama, the Romantic castrato, and English musical annuals in 19th-Century Music (2003), Opera Quarterly (2005), Cambridge Opera Journal (2005) and Journal of the Royal Musical Association (2006).
Tracy C. Davis, Barber Professor of the Performing Arts at Northwestern University, is author of Actresses as Working Women: Their Social Identity in Victorian Culture (Routledge, 1991), George Bernard Shaw and the Socialist Theatre (Greenwood, 1994), The Economics of the British Stage, 1800-1914 (Cambridge University Press, 2000), and Stages of Emergency: Cold War Nuclear Civil Defense (Duke University Press, 2007). Her edited and co-edited collections include Women and Playwriting in Nineteenth-Century Britain (1999), Theatricality (2004), and The Cambridge Companion to Performance Studies (2008), all for Cambridge University Press. She is President of the American Society for Theatre Research.
Sophie Fuller is a freelance musicologist. She is the author of The Pandora Guide to Women Composers (Pandora, 1994) and co-editor of Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002) and The Idea of Music in Victorian Fiction (Ashgate, 2004). Her research interests include aspects of music, gender, and sexuality, but focus on musical life in late nineteenth- and twentieth-century Britain. Her most recent work has been on creative women and exoticism in fin-de-siècle Britain, and on the significance of the private musical world in the life and career of Edward Elgar. Other interests include late Victorian and Edwardian musical salons, and song-composers and singers from Hildegard of Bingen through Maude Valérie White and Clara Butt to George Michael.
Helen Greenwald has taught at the New England Conservatory since 1991 and was Visiting Professor of Music at the University of Chicago, winter-spring 2008. Her work has appeared in journals such as 19th-Century Music, Acta Musicologica, Music & Letters, Journal of the American Musicological Society, and Cambridge Opera Journal. She is co-editor of the critical edition of Rossini's Zelmira (Fondazione Rossini, 2005), and is currently editing The Oxford Handbook of Opera (Oxford University Press) and Verdi's Attila for The Works of Giuseppe Verdi (Ricordi/University of Chicago Press).
Francesco Izzo is Lecturer in Music at the University of Southampton, and has also taught at New York University, East Carolina University, and the University of Chicago. His research, which focuses on nineteenth-century opera, has been published in Acta Musicologica, Journal of the American Musicological Society, Journal of Musicology, Studi Musicali, and in several books and congress proceedings. He is the editor of Verdi's Un giorno di regno in The Works of Giuseppe Verdi (Ricordi, in preparation).
Grace Kehler is an Associate Professor of English and Cultural Studies at McMaster University in Hamilton, Ontario (Canada). A specialist in the Victorian era, she has published articles in journals such as Victorian Studies, Victorian Literature and Culture, Australasian Victorian Studies Journal, and the Victorians Institute Journal, and in collections from State University of New York Press (Nervous Reactions: Victorian Recollections of Romanticism, ed. Joel Faflak, Julia M. Wright, and Pamela K. Gilbert (2004)) and Ashgate (Operatic Migrations: Transforming Works and Crossing Boundaries, ed. Roberta M. Marvin and Downing Thomas (2006)). Her current project is a book entitled Prima Donnas: Fictions, History, and the Victorian Singer.
Roberta Montemorra Marvin is a Research Fellow at the Obermann Center for Advanced Studies at The University of Iowa, where she is also Director of the Institute for Italian Opera Studies and Associate Professor. She edited I masnadieri and Inno delle nazioni for The Works of Giuseppe Verdi (Ricordi/University of Chicago Press), a series for which she is currently Associate General Editor. She has just completed a book entitled Verdi the Student-Verdi the Teacher, is writing another entitled Verdi and the Victorians, and was co-editor of Verdi 2001 (Leo Olschki, 2003), Historical Musicology: Sources, Methods, Interpretations (University of Rochester Press, 2004), Operatic Migrations: Transforming Works and Crossing Boundaries (Ashgate, 2006), and Fashions and Legacies of Nineteenth-Century Italian Opera (Cambridge University Press, 2009).
Hilary Poriss is Assistant Professor at Northeastern University, Boston. Her research interests focus on Italian opera, performance practice, diva culture, and the aesthetics of nineteenth-century musical culture. She is the author of Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford University Press, 2009); and co-editor, with Roberta Montemorra Marvin of Fashions and Legacies of Nineteeth-Century Italian Opera (Cambridge University Press, 2010). She has published articles and reviews in 19
Julian Rushton retired from the West Riding Chair of Music at the University of Leeds in 2002. He has published mainly on Gluck, Mozart, Berlioz, and Elgar. He contributed the Mozart entry for The New Grove Dictionary of Opera, revised and published as a separate volume in 2007. His short biography, Mozart, An Extraordinary Life, appeared in 2005 from the Associated Board of the Royal Schools of Music, and in 2006 he published a new volume on Mozart in the long-standing series The Master Musicians (Oxford University Press). He was President of the Royal Musical Association (1994-1999), and has been chairman of the Editorial Committee of Musica Britannica since 1993.
Susan Rutherford is Senior Lecturer in Performance Studies at the Martin Harris Centre for Music and Drama, University of Manchester. Her publications include The Prima Donna and Opera, 1815-1930 (Cambridge University Press, 2006), which was awarded the 2007 Pauline Alderman prize (International Alliance for Women in Music); The New Woman and Her Sisters: Feminism and Theatre, 1850-1914 (co-editor, Harvester Wheatsheaf, 1992); and various essays on opera in books and academic journals such as Arcadia, Studi verdiani, Cambridge Opera Journal, Opera Quarterly, and Nineteenth-Century Theatre and Film. She is the recipient of the 2003 biennial Premio internazionale: Giuseppe Verdi (Istituto Nazionale di Studi Verdiani, Parma). Her forthcoming monograph is entitled Verdi, Opera, Women (2009).
Mary Simonson teaches at Colgate University in Hamilton, New York, and completed her doctorate at the University of Virginia in 2007. Her research focuses on nineteenth- and early-twentieth-century opera, dance, and popular culture, with an emphasis on American music and cultural contexts, feminist theory, and issues of performance and embodiment. Her study of the Salome character in American culture appeared in the journal Women and Music, and other projects include work on vocal and corporeal interactions among female characters in Auber's La muette di Portici, Anna Pavlova in Lois Weber's opera film The Dumb Girl of Portici, Mary Garden's stardom in the United States, and Isadora Duncan's Wagner dances.
Alexandra Wilson is Senior Lecturer in Musicology at Oxford Brookes University. Her research focuses primarily on late-nineteenth- and early-twentieth-century opera, viewed within its critical, cultural, and political contexts; Puccini reception is a particular area of interest. She has published her work in the Cambridge Opera Journal, Music & Letters, and Opera Quarterly, and is author of The Puccini Problem: Opera, Nationalism, and Modernity (Cambridge University Press, 2007), for which she received the 2008 Lewis Lockwood Award from the American Musicological Society. Her current research examines operatic culture in early twentieth-century Britain.