Background and activities
My research focuses on Italian opera, theatre and literature from a variety of musicological and interdisciplinary perspectives: from studies on genre, literature and dramaturgy, period acting and staging practices, to cultural history. I have explored the concept of ‘Italianità’ and ways in which Italian baroque opera could function as a medium of cultural transfer, a mediator of public perceptions of otherness, gender roles, and ideologies, with particular foucs on the context of opera in London, Venice and central Europe in the eighteenth century. In recent publications I explore the phenomenon of the castrato and singers’s agency in eighteenth century opera. Current research activity includes participation to a collaborative volume on Opera in Venice at the time of Antonio Vivaldi commissioned by the Istituto Antonio Vivaldi at the Fondazione Giorgio Cini (Venice).
The interdisciplinary approach that characterises my research interests and approach stems from my educational background and undergraduate studies in Italy. I combined performance studies in pianoforte (Piano diploma from the Conservatorio G. Martucci, 1983) with studies in the Humanities at the University of Rome ‘La Sapienza’ (Laurea di Dottore in Lettere, 1991), where I studied Music History and Ethnomusicology alongside History, Art History, Philology, Cultural Anthropology, Aesthetics, Linguistics, Italian and English literature. I obtained a PhD in Historical Musicology at King's College, University of London in 1998. I joined the Musikkinstitutt at NTNU in 2016 after (permanent, full time) Senior Lectureships in the music departments at Oxford Brookes University and City University London.
At NTNU, I teach BA and MA courses on music history and opera studies across the two programmes in musicology and performance. My courses are characterized by a critical and interdisciplinary approach to the study of music in its historical, geographical and cultural context in order to enhance students' awareness of the many factors that influenced music’s creation, performance and reception, as well as our understanding of music of the past as a rich and living part of our present.
I have examined and supervised a number of doctoral students on a variety of research areas, within both the PhD and DMA programmes. Possible areas for doctoral supervision within Western Art Music traditions include: music history, opera studies, early music, music exoticism and gender studies; philosophy of music; music and literature; music and rhetoric, music and theatre (including commedia dell’arte, acting and staging practices); music and psychoanalysis; cultural studies of music; reception and social history of music.
Lars Henrik Johansen: '...chanter un discours'. The Eloquence of Marc-Antoine Charpentier's Leçons de Ténebres
Scientific, academic and artistic work
A selection of recent journal publications, artistic productions, books, including book and report excerpts. See all publications in the database
- (2017) 'Farò il possibile per vincer l’animo di M.r Handel': Senesino’s arrival in London and Arsace’s rhetoric of passions. Eighteenth-Century Music. vol. 14 (1).
- (2015) Senesino's negotiations with the Royal Academy of Music: further insight into the Riva-Bernardi correspondence and the role of singers in the practice of eighteenth-century opera. Cambridge Opera Journal. vol. 27 (3).
- (2007) Music as Social and Cultural Practice. Boydell & Brewer. 2007. ISBN 9781843833178.
- (2006) Italian Opera in Central Europe, 1614-c.1780, vol. 1: Institutions and Ceremonies. BWV - Berliner Wissenschafts-Verlag. 2006. ISBN 978-3-8305-0381-1.
- (2000) Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies. Brepols. 2000. ISBN 978-2-503-51021-7.
Part of book/report
- (2012) Luigi Nono, Intolleranza 1960. Grafia musicale e segno pittorico nell’avangurdia italiana (1950-1970).
- (2012) Luigi Nono, Omaggio a Emilio Vedova. Grafia musicale e segno pittorico nell’avangurdia italiana (1950-1970).
- (2012) Niccolò Castiglioni, Tre Misteri. Grafia musicale e segno pittorico nell’avangurdia italiana (1950-1970).
- (2010) From Rinaldo to Orlando, or Senesino's Path to Madness. Handel.
- (2009) Francesco Nicola Haym. Cambridge Handel Enciclopedia.
- (2009) From Rinaldo to Orlando, or Senesino's Path to Madness. D'une scène à l'autre. L'opéra italien en Europe.
- (2009) Giovanni Bononcini. Cambridge Handel Enciclopedia.
- (2009) Giovanni Bononcini, Griselda. Cambridge Handel Enciclopedia.
- (2009) Ludovico Ariosto. Cambridge Handel Enciclopedia.
- (2008) Classical Tragedy in the Italian Manner: The Case of Polidoro. Italian Opera in Central Europe, vol. 2: Italianità: Image and Practice in Central European Opera in the 17th and 18th Centuries.
- (2008) Taming the Exotic: Vivaldi’s Armida al campo d’Egitto. Vivaldi, “Motezuma” and the Opera Seria: Essays on a Newly Discovered Work and Its Background.
- (2007) Echi tassiani e rappresentazioni dell'Oriente al Teatro S. Angelo di Venezia. Le arti della scena e l'esotismo in età moderna.
- (2007) From Venice to London: On the Trail of Luigi Riccoboni and Italian Opera. Italian Opera in Central Europe, vol. 3: Opera subjects and European Relationships.
- (2007) Venice and the East: Operatic Readings of Tasso’s Armida in early Eighteenth-Century Venice. Music as Social and Cultural Practice.
- (2003) "Parto o bella, ma con qual cuore…". Riflessioni sulla drammaturgia del dramma per musica e il suo rapporto con l'arte comica. Commedia dell'Arte e Spettacolo in musica tra Sei e Settecento.