Moon-Crossed reimagines the central plot of Shakespeare’s All’s Well That Ends Well as a means to examining the female monstrous in early modern drama, literature, and though. Why doesn’t Bertram like Helena? Because she’s a werewolf. But as he learns, she’s of a very noble line of werewolves. She saves the King of France, he learns a bit more…[Read more]

“Secret Rooms and Borrowed Pianos: Two Women’s Roles in Preserving the Conservatoire Américain during the Occupation”

“Excellence in Execution” and “Fitness for Teaching”: Assessments of Women at the Conservatoire Américain

Review: Review: Nadia Boulanger and the Stravinskys: A Selected Correspondence ed. by Kimberly A. Francis

Review of The Shakespeare Theatre Company’s Oresteia (2019), Adapted by Ellen McLaughlin, Directed by Michael Kahn, Music by Kamala Sankaram, interview with Sankaram

Poetry about the Brumadinho disaster

Teresa Carreño, more than being another prodigy child, was, thanks to her creativity and agency, an outstanding cosmopolitan and all-round artist during the nineteenth-century and the beginning of the twentieth-century. Her role of concert pianist was complemented with those of composer, pedagogue, opera impresario and Singer. Teresa Carreño c…[Read more]

Archives are full of ghosts—the ghosts of music long-forgotten, technologies now superseded, practices that have faded away with time. This talk examines music used to accompany and signify the supernatural the silent film, as well as what can be learned by excavating the ghosts of musicians’ lives and careers now held in archives both at the Uni…[Read more]

Archives are full of ghosts—the ghosts of music long-forgotten, technologies now superseded, practices that have faded away with time. This talk examines music used to accompany and signify the supernatural the silent film, as well as what can be learned by excavating the ghosts of musicians’ lives and careers now held in archives both at the Uni…[Read more]