Deborah Burton

Deborah Burton

Curriculum Vitae

Email: burtond@bu.edu
Website: http://people.bu.edu/burtond

Academic Appointments

• Spring 2016
Visiting Professor, University of Rome - Tor Vergata. Scienze storiche, filosofico-sociali, dei beni culturali e del territorio. Special course on Puccini’s operas.

• 2006-present
Boston University, School of Music, College of Fine Arts, Associate Professor. Undergraduate: Coordinator of Aural Skills Program, Chromatic harmony, Form, Opera, Tonal Counterpoint. Graduate: Form and Analysis, Schenkerian Analysis, Graduate theory review, Understanding Opera, Mozart’s Operas. Promoted to Associate with tenure in 2014.

• 2004-2006
Florida International University, Assistant Professor. Undergraduate: Diatonic and Chromatic Harmony, Counterpoint, Aural skills. Graduate: Form and Analysis, Counterpoint, Schenkerian and Post-tonal Analysis, Graduate theory review.

• 2003-2004
University of Massachusetts, Amherst, Visiting Assistant Professor. Undergraduate: chromatic harmony, form and analysis; Graduate: Seminar in Analysis 1600-1750, Seminar in Analysis 1825-1900.

• Fall 2003
Harvard University, Lecturer on Music, Tonal counterpoint.

• 2002-2003
Harvard University, Visiting Scholar research appointment.

• 2001-2002
Fordham University, Visiting Assistant Professor of Music. Undergraduate: Tonal Counterpoint, Diatonic harmony, Intro to Music History, Introduction to Opera, Baroque music history.

• Spring 2000
Harvard University, Lecturer on Music. Undergraduate: Tonal Counterpoint,
replacing David Lewin.

• 1996-2001
Harvard University. Undergraduate: Teaching assistant in Music Theory and Head Teaching Fellow and Teaching Assistant in the Core Program (Thomas F. Kelly's First Nights: Five Performance Premieres and Lewis Lockwood's Opera: Perspectives in Music and Drama).

• 1990-1996
[doctoral research in Italy and Switzerland]

• 1986-1990
Adrian College, Adrian, Michigan. Instructor, Music Faculty. Undergraduate: Tonal and Post-tonal music theory, Music history survey, Studio piano.

• 1988-1989
University of Michigan, Ann Arbor, Michigan, Teaching assistant. Undergraduate: Music theory and Aural skills.

• 1985-1986
University of Michigan, Teaching assistant. Studio piano.

• 1983-1985
Yale School of Music, Teaching assistant. Studio piano.

Musical education

• 1987-1996
Ph.D., University of Michigan, Ann Arbor, Michigan, Music Theory. Doctoral dissertation: “An Analysis of Puccini's Tosca: a heuristic approach to the unifying elements of the opera.” Unanimously nominated for the university's Distinguished Dissertation Award and winner of the one-term dissertation fellowship.

• June 2001
Mannes Summer Institute in Historical Music Theory, New York City, participant in seminars on Ancient Greek Music Theory (with Thomas Mathiesen) and Early 18th-Century Music Theory (with Joel Lester).

• 1986-1987
D.M.A. Program (incomplete), University of Michigan, Ann Arbor, Michigan, in piano, with Theodore Lettvin.

• 1983-1985
M.M., Yale School of Music, New Haven, Connecticut, solo piano.

• 1979-1983
Diploma, The Mannes College of Music, New York, solo piano.

Recent and forthcoming publications

Books / Series

• Burton, Deborah and Giorgio Sanguinetti, series editors, Italian Theoretical Treatises, subseries of Harmonologia: Studies in Music Theory. Annotated translations include treatises by Martini, Asioli, and Fenaroli. New York: Pendragon Press, forthcoming.

• Burton, Deborah. Recondite Harmony: Essays on Puccini’s Operas. An analytically based exploration of Puccini’s compositional techniques with short essays on each opera. New York: Pendragon Press, 2012.

• Burton, Deborah and Gregory Harwood. The Theoretical-Practical Elements of Music, Parts III and IV, Studies in the History of Music Theory and Literature, vol. 5. Urbana: University of Illinois Press, 2012. This annotated translation of the Italian treatise by Francesco Galeazzi is placed in its intellectual context; the treatise itself discusses music history, basic theoretical elements, counterpoint, sonata form and 18th-century compositional techniques. The book has been awarded a subvention grant from the Society for Music Theory (2011).

• Burton, Deborah, Susan Vandiver Nicassio and Agostino Ziino, eds. Tosca's Prism: Three Moments of Western Cultural History. Boston: Northeastern University Press, 2004. [Co-editor and contributor.] An interdisciplinary symposium on three diverse moments of European history through the prism of Puccini's opera Tosca: the events of the story took place in June 1800; the Puccini opera premièred in 1900; and the year 2000 serves as the present. This book was awarded a subvention grant from the American Musicological Society (2004).


Juried Journal Articles

• “The Puccini Code.” Rivista di Analisi e Teoria Musicale (2013/2), accepted for publication, forthcoming. [This article describes, based on Puccini’s sketches for the finale of Turandot, the diatonic bases underlying his most dissonant passages.]

• “Ariadne’s Threads: Puccini and Cinema.” Studi Musicali (2012/1): 219-246. [This article describes the interrelationship of Puccini’s compositional techniques and those of early cinema.]

• “Guida e Conseguente: Padre Martini and Galeazzi on Fugue.” Rivista di Analisi e Teoria Musicale XVII/1-2 (2011): 121-147. [places Galeazzi's observations in the context of his mentor's work, with original translations of both texts, written in classic dialogue format.]

• “Padre Martini's Preface to his Esemplare, Part II: an original, annotated translation” Theoria, 11 (2004): 35-108. [The partial translations of the works of Padre Martini, counterpoint teacher of Mozart, Johann Christian Bach, Cherubini and others, have omitted his preface, leaving a false impression that the great scholar left no counterpoint treatise; this article corrects that error and provides the complete translation.]

• “Orfeo, Osmin and Otello: Towards a Theory of Opera Analysis.” Studi Musicali, (2004/2): 359- 385. [three diverse operatic selections are discussed in light of a new approach to opera analysis.]

• “A Journey of Discovery: Puccini’s ‘motivo di prima intenzione’ and its applications in Manon Lescaut, La Fanciulla del West and Suor Angelica.” Studi Musicali, (2001/2): 473-499. [Motivic parallelism in these operas.]

• “Possibili fonti storiche per la Tosca.” Nuova Rivista Musicale Italiana, 4/2 (April/June 2000): 199- 220.[historical sources for the plot and characters of Tosca]

Reviews, book chapters and non-juried articles

• “Stormy Weather: Issues of Form, Deformation and Continuity in Opera Analysis.” In Singing with Signs. Edited by Matthew Shaftel and Gregory Decker, forthcoming. • Review of Francesco Izzo. Laughter between Two Revolutions in Opera Buffa: Italy, 1831-1848 (Rochester, NY: University of Rochester Press, 2013) for Music Reference Services Quarterly, Fall 2014. (forthcoming.)

• Review of Puccini’s Late Style by Andrew Davis, and The Italian Traditions and Puccini: Compositional Theory & Practice in Nineteenth-Century Opera (2011) by Nicholas Baragwanath. Music Theory Spectrum 35/2 (Fall 2013): 256-260.

• Review of The Music of Our Lives by Kathleen Higgins. The Review of Metaphysics 65/3 (2012): 426-428.

• Review of Mozart on the Stage by John A. Rice. Notes 66/4 (June 2010): 799-801.

• “Men Who Love Too Much: Operatic Heroes and the Metric and Tonal Disturbances that Follow them.” In Essays from the Fourth International Schenker Syposium - Volume 2. Edited by L. Poundie Burstein, Lynne Rodgers and Karen M. Bottge, 279-297. Studien und Materialien zur Musikwissenschaft. New York: Olms, 2013.

• Review of Reading Opera Between the Lines: Orchestral interludes and cultural meaning from
Wagner to Berg by Christopher Morris. Music Theory Spectrum (2008): 181-188.

• Review of Mozart and His Operas by David Cairns. Notes (December 2007): 266-269.

• Review of Heinrich Schenker: A Guide to Research by Benjamin Ayotte. Music Reference Services Quarterly (2005): 76-78.

• “Tosca Act II and the Secret Identity of F#.” In Deborah Burton, Susan Vandiver Nicassio and Agostino Ziino. Tosca's Prism: Three Moments of Western Cultural History, 147-166. Boston: Northeastern University Press, 2004.

• Review of Tosca's Rome by Susan V. Nicassio. Notes (March 2000): 647-648.

• “Tristano, Tosca e Torchi.” In Studi Musicali Toscani: Giacomo Puccini: L'uomo, il musicista, il panorama europeo, edited by Gabriella Biagi Ravenni and Carolyn Gianturco, 127-145. Lucca: Libreria Musicale Italiana, 1997.

• “The Creation of Tosca: towards a clearer view.” Opera Quarterly 12/3 (Spring, 1996): 27-34.

• “Michele Puccini's Counterpoint Treatise.” Quaderni pucciniani (1996): 173-181.

• “Select Bibliography.” In The Puccini Companion, edited by William Weaver and Simonetta Puccini, 327-334. New York: Norton, 1994.

• “The Real Scarpia: Historical Sources for Tosca.” Opera Quarterly, 10/2 (Winter 1993-94): 67-86.

Papers and Presentations

• November 2015
Presenter and session organizer, Society for Music Theory national meeting, St. Louis. Topic: “Stormy Weather: Issues of Form, Deformation and Continuity in Opera Analysis.”

• April 2015
Session chair, Music Theory Society of New York State, annual meeting, Binghamton, NY. Session:
“Form in Opera.”

• March 2014
Session chair, New England Conference of Music Theorists, annual meeting, Connecticut College, Session: “Schemes and Archetypes.”

• March 2014
Invited panelist, Wagner’s Jews: Film Screening and Discussion, Berenson Hall, Hebrew College.

• September-October 2013
Organizer, Presenter, interdisciplinary multi-event series Wagner in Context, at Boston University, including guest lecturers (such as Wagner’s great-grandson, staff of the Metropolitan Opera, specialists in Wagner’s music, politics, drama, social impact), and a new documentary film Wagner’s Jews. Wagner in Context was made possible with the support of the BU Arts Initiative, the BU Center for the Humanities, the BU Jewish Cultural Endowment, the BU CFA Dean’s Office, the Center for the Study of Europe and the Boston Wagner Society. Some events will be made available on BUniverse and on WBUR’s World of Ideas.
www.facebook.com/wagnerincontext.

• April 2013
Presenter, New England Conference of Music Theorists, annual meeting, Tufts University. Topic: “Puccini: Honorary German?”

• March 2013
Presenter, Nineteenth-Century Studies Association, annual meeting, Fresno, CA. Topic: “Puccini’s The Girl of the Golden West and the Rhythms of the New World.” (March 2013)

• Sept. 2012
Presenter and session chair (“Presentazione: The Art of Partimento di Giorgio Sanguinetti”) IX Convegno di Analisi e Teoria Musicale, Gruppo Analisi e Teoria Musicale, Rimini, Italy. Topic: “La Turandot di Puccini: una sintesi di tonalità e atonalità.”

• Sept. 2011
Presenter and session chair (“Schenker”), VII European Music Analysis Conference, Rome, Italy. Topic: “Ariadne’s threads: Puccini and Cinema.”

• May 2011
Invited speaker, “Puccini e Lucca nel Mondo” sponsored by the Dante Alighieri Society, The Boston Chapter of the Associazione Lucchesi nel Mondo and the Fondazione Giacomo Puccini.

• April 2011
Invited speaker, interdisciplinary conference, Pride, Envy, Greed: from Cain to Present. James Madison University, Harrisonburg, Va. Topic: “Tosca’s Fatal Flaw.”

• April 2011
Member, plenary session panel, “Approaches to Opera Analysis,” New England Conference of Music Theorists, Brandeis University, with William Rothstein (CUNY), Peter Westergaard (Princeton), and Matthew Shaftel (Florida State).

• Dec. 2010
Organizer and speaker at symposium Fanciulla 100: Celebrating Puccini, co-hosted by the Howard Gotlieb Archival Center, and the BU College of Fine Arts. Topic: “The Rhythms of Fanciulla.”

• Dec. 2010
Organizer and chair, round-table discussion entitled “La fanciulla del West: a Century of Puccini's Girl of the Golden West” Italian Cultural Institute, New York. Speakers included: Allan Atlas (CUNY), Marcello Giordani (tenor, Metropolitan Opera), Nicola Luisotti (conductor, Metropolitan Opera), Harvey Sachs (Curtis Institute of Music), Walfredo Toscanini (grandson of conductor Arturo Toscanini), Simonetta Puccini (granddaughter of composer Giacomo Puccini), Sarah Billinghurst (Metropolitan Opera), Francesco Maria Talò (Consul General of Italy) and Riccardo Viale (Director, Italian Cultural Institute in New York.)

• Oct. 2010
Invited speaker, Boston Lyric Opera at the Boston Public Library. Topic: “The Twists and Trysts of Tosca.”

• Nov. 2010
Round-table discussion with John Conklin on Puccini’s Tosca, Boston University Opera Institute.

• April 2010
Invited speaker, Hartt Music Theory Forum, Hartt School of Music. Topic: “Mozart and Musical Mad Men.”

• March 2010
Invited speaker, Boston University Alumni Association. Topic: “Action Fragmented: Silent-Film Techniques and the Music of Puccini.”

• Jan. 2010
Invited speaker, Lindemann Young Artist Development Program, The Metropolitan Opera. Topic: Opera analysis.

• June 2009
Invited speaker, University of Rome - Tor Vergata, Rome, Italy. Topic: Opera analysis.

• Nov. 2008
Presenter, American Musicological Society and Society for Music Theory Joint National Annual Meeting, Nashville, TN. Topic: “Puccini and Early Film.”

• Nov. 2008
Panelist, American Musicological Society and Society for Music Theory Joint National Annual Meeting, Nashville, TN. Panel title: “Puccini the Modernist?”

• April 2008
Organizer and presenter, interdisciplinary conference “Opera and Society,” Boston University. Topic: “In his shoes: the Marriage of Figaro and the Movies.” Podcast on www.operaandsociety.org.

• Nov. 2007
Session chair, Scholars for Social Responsibility, at the annual meeting of the Society for Music Theory, Baltimore, MD. Special session on academic freedom.

• April 2007
Panel member, Boston University Musicology Colloquium: “Staging Bohème: The Practice of History” panel discussion with Alessandra Campana (Tufts) and Sharon Daniels (BU).

• Nov. 2006
Session chair, “Opera” session, Society for Music Theory National Annual Meeting, Los Angeles, CA.

• Nov. 2006
Session co-chair, Scholars for Social Responsibility, at Society for Music Theory National Annual Meeting, Los Angeles, CA.

• March 2006
Presenter, Fourth International Schenker Symposium, Mannes College of Music, New York City. Topic: “Men who love too much: Operatic Heroes and the Metric and Tonal Disturbances that Follow them.”

• April 2005
Presenter, New England Conference of Music Theorists, Amherst, MA. Topic: “Guida e Conseguente: Padre Martini and Francesco Galeazzi on Fugue”

• March 2005
Invited speaker, University of Connecticut-Storrs. Topic: “The Naked Pitch-class and Musical Fan Dancing.”

• March 2004
Presenter, Music Theory Lecture Series, University of Massachusetts. Topic: “The Shawshank Redemption, The Marriage of Figaro and Trading Places.”

• June 2000
Originator, co-organizer, presenter and fundraiser for international, interdisciplinary bilingual conference, Tosca 2000, Teatro dell’Opera, Rome, Italy. Held in honor of the centennial of Puccini’s Tosca and the bicentennial of the historical events on which it was based. Topic: “Tosca Act II and the secret identity of F#.”

• Oct. 1997
Presenter, New England Chapter, American Musicological Society. Topic: “Scenes Unseen from La Bohème.”

• Feb. 1996
Session chair and presenter, “Puccini, youth to maturity: from Edgar to La bohème,” Teatro Regio, Turin, Italy. Topic: “Prime versioni del libretto de La bohème alla Casa Giacosa.”

• Nov. 1995
Presenter, 18th Society for Music Theory National Annual Meeting, New York City. Topic: “Remote regions and Puccini's motivic territory.”

• Nov. 1994
Presenter, 17th Society for Music Theory National Annual Meeting, Tallahassee, Florida. Topic: “Il segreto della forma di Giacomo Puccini.” [first SMT presentation on Puccini]

• Nov. 1994
Presenter, Convegno internationale di studi su Puccini nel 70o anniversario della morte, Lucca, Italy. Topic: “Tristano, Tosca. e Torchi.”

Online Activities

• 2013-present
www.facebook.com/wagnerincontext. The electronic resource for the interdisciplinary multi-event series Wagner in Context, at Boston University, which included guest lecturers (such as Wagner’s great-grandson, staff of the Metropolitan Opera, specialists in Wagner’s music, politics, drama, social impact), and a new documentary film Wagner’s Jews. Wagner in Context was made possible with the support of the BU Arts Initiative, the BU Center for the Humanities, the BU Jewish Cultural Endowment, the BU CFA Dean’s Office, the Center for the Study of Europe and the Boston Wagner Society. Some events will be made available on BUniverse and on WBUR’s World of Ideas.

• 2010-present
www.fanciulla100.org, organizer. In celebration of the centennial of Puccini’s La fanciulla del West, at the Metropolitan Opera in December 1910, this educational website, linked to the Met’s site, includes video interviews of performers and specialists, videos of Puccini and old New York, a virtual museum, articles, archival images, and rare Fanciulla videos.

• 2008-present
www.operaandsociety.org, organizer. Podcasts of Boston University’s interdisciplinary conference. Paper title: “In his shoes: the Marriage of Figaroand the Movies.” These podcasts are now archived in the Boston University Digital Common.

Service to Profession

• April 2015: Session chair, Music Theory Society of New York State, annual meeting, Binghamton, NY. Session: “Form in Opera.”

• April 2015: Program Chair, New England Conference of Music Theorists, 30th annual meeting, Boston University.
• 2010-2011: Member, Nominating Committee, Society for Music Theory (national)
• April 2011: Co-leader, Student Workshop on Opera Analysis, New England Conference of Music Theorists, Brandeis University, with William Rothstein (CUNY).
• 2009-present: Editorial Consultant for the Rivista di Analisi e Teoria Musicale (RATM), journal of the Gruppo di Analisi e Teoria Musicale (GATM). (international)

• 2007-2009: President, New England Conference of Music Theorists. Instituted the NECMT prize (an essay contest for scholars of all ranks), the NECMT student workshops (three-hour sessions with distinguished scholars of the field, open to students of any rank), podcasts of presentations, and online voting.

• 2009-2010: Chair, Mentoring Program, SMT Committee on Professional Development. (national)

• 2006-2010: Co-chair, Scholars for Social Responsibility, Society for Music Theory Interest Group. (national)

• 2007-2009: Member, Socity for Music Theory Mentoring Program, mentoring young theory
and musicology graduate students. (national)

• 2007-2009: Member, Committee on Professional Development, Society for Music Theory. (national)

• 2006-2007: Member, Committee on the Status of Women, Society for Music Theory. (national)

• 2006-2007: Program committee member, New England Conference of Music Theorists.

• 2006-2007: Member at Large, Music Theory Southeast.

• Nov. 2006: Session Chair, “Opera,” Society for Music Theory, annual meeting, Los Angeles. (national)

• 2005-2006: Member, Program committee, Music Theory Southeast annual meeting, University of North Carolina, Chapel Hill, March 3-4, 2006.

• 2005-2006: Representative, School of Music Curriculum Committee to the College of Arts and Sciences Curriculum Committee, Florida International University, Miami, FL.

• March 2005: Session chair: Interdisciplinary Approaches, Music Theory Southeast annual meeting, University of Miami, Miami, FL.

• 2000-2004: Secretary, New England Conference of Music Theorists.

• 2003-2004: Member, Music Theory Committee, University of Massachusetts, Amherst.

• March 1999: Session chair and program committee member, New England Conference of Music Theorists, Harvard University.

• 1996-present: Member, Istituto di Studi Pucciniani, Milan, Italy. (international)

Grants, Honors and Awards

• June 2014
Visiting Scholar, American Academy in Rome. Research on Italian theorist and pedagogue (a teacher of Mozart) Padre Giambattista Martini.

• 2013
BU Arts Initiative Grant ($2000) for Wagner In Context, an interdisciplinary, multi-event celebration of Wagner’s 200th anniversary. Guest speakers included Gottfried Wagner (the composer’s great-grandson), Donald Palumbo (Met Opera), William Berger (Met Opera) and BU professors in Literature, Philosophy, Musicology and Music Theory.

Humanities Enhancement Project Grant, Center for the Humanities, Boston University ($6000) for Wagner in Context.

BU Jewish Cultural Foundation grants for Wagner In Context.(total $4700)

Boston Wagner Society grant for Wagner in Context. ($500)

Center for the Study of Europe contribution to Wagner in Context. ($500)

• 2011
Society for Music Theory, Subvention grant, for Burton, Deborah and Gregory Harwood. The Theoretical-Practical Elements of Music, Parts III and IV, Studies in the History of Music Theory and Literature, vol. 5. Urbana: University of Illinois Press, 2012, vol. 5 (Urbana: University of Illinois Press, 2012.)

• 2010-2011
Humanities Enhancement Project Grant, Humanities Foundation, Boston University ($12,000), for Fanciulla 100, a project celebrating the centennial of Puccini’s opera La fanciulla del West.

• 2009-2010
Junior Fellowship, Humanities Foundation, Boston University, one-term sabbatical for Fall 2009 for work on the manuscript Recondite Harmony: the Music of Puccini.

• June 2009
Visiting Scholar, American Academy in Rome. Research on Italian theorist Francesco Galeazzi.

• 2008
Humanities Foundation Award, Boston University, for conference Opera and Society.

• 2007-present
Placard honoring doctoral work on Puccini’s Tosca installed at the Casa Puccini, Vacallo, Switzerland.

• 2004-2005
Alternate, Fulbright Scholar Program to Italy.

• Jan/June 2004
Visiting Scholar, American Academy in Rome.

• 2004
American Musicological Society Subvention Grant for book Tosca's Prism.

• 2002-2003
Harvard University, Visiting Scholar research appointment.

• 1995
Unanimously nominated for Distinguished Dissertation Award, University of Michigan.

• 1994
One-term Dissertation Fellowship, University of Michigan.

• 1989
Block grant, University of Michigan.

• 1989-1990
Graduate Merit Fellowship

Service to Boston University

• 2014-2015: Executive Committee, Boston University Center for the Humanities.

• 2014-2016: APT Committee, College of Fine Arts

• Fall 2014: Music Education Search Committee.

• Fall 2014: Marié Abe, midterm pre-tenure review, committee member.

• Fall 2014: Jason Yust, midterm pre-tenure review, committee member.

• 2012-2014: Representative, University Faculty Council

• April 2014: Author, program notes for BU Opera Institute production of Mozart’s Don Giovanni.

• October 2013: Participant, A Celebration of BU Authors, part of Are We Listening?: A symposium on music, change and challenge. Readings from Recondite Harmony: Essays on Puccini’s Operas.

• April 2013: Author, Program Notes, “Out of Time: La Clemenza di Tito” Boston University Opera Institute.

• 2013-2014: Third reader, DMA dissertation by Sheila Cathay, Music Education.

• 2011-2013: Member, Undergraduate Studies Committee.

• 2011-2012: Alternate, University Faculty Council.

• 2010-2012: Representative, Executive Committee, College of Fine Arts.

• 2010-2011: Member, Music Theory Search Committee.

• 2011: First reader, Jee-Hyun Kim. “An introduction to Sir Arthur Bliss’s solo vocal works for the soprano voice: An interpretive approach.” DMA dissertation in Vocal Studies.

• 2011: Third reader, Andrew Shryock. "Handel and the Sublime: Crafting Librettos, Composing Oratorios, and Transfixing Audiences in Eighteenth-Century England.” Ph.D. Dissertation in Musicology.

• Dec. 2010: organizer and speaker at symposium Fanciulla 100: Celebrating Puccini, co-hosted by the Howard Gotlieb Archival Center and the College of Fine Arts, in celebration of the centenary of Giacomo Puccini’s opera La fanciulla del West. Other speakers included David Rosen (Cornell), Carolyn Guzski (SUNY-Buffalo), Harvey Sachs (Curtis Institute of Music), John Conklin (Artistic Advisor to the Boston Lyric Opera), Walfredo Toscanini (grandson of conductor Arturo Toscanini), Simonetta Puccini (granddaughter of composer Giacomo Puccini) and Cheryl Green (great-grandniece of playwright David Belasco). Partially supported by a grant from the Boston University Center for the Humanities. The symposium was in conjunction with the exhibit Puccini’s Girl of the Golden West: Chronicling Fanciulla, at Mugar Library, with materials on loan from the Toscanini family.

• Nov. 2010: arranged for voice students to attend rehearsal of La fanciulla del West at the Metropolitan Opera in New York.

• Nov. 2010: roundtable with John Conklin (Artistic Advisor to the Boston Lyric Opera), hosted by Boston University Opera Institute and the Boston Lyric Opera.

• 2010-2011: Member, Graduate Studies Committee, School of Music.

• 2009-2010: First reader, Christina Heizmann. “Schenkerian Analysis and “Album Des 6”: A methodology and Critical Analysis.” Masters Thesis in Music Theory.

• Mar. 2010: Guest lecturer, Boston University Alumni Association, Topic: “Action Fragmented: Silent-Film Techniques and the Music of Puccini.”

• Feb. 2010: Guest lecturer, class CAS XL320 Death in Venice, Prof. William Waters. Topic: Wagner’s Tristan und Isolde.

• 2009-10: Third reader, Stefano Graziano. “From Language to Music: Mapping the History of the Italian ‘Lute Vocabolario’.” Ph.D. dissertation in Musicology.

• April 2008: Organizer and presenter, interdisciplinary conference “Opera and Society,” Boston University. Arranged for podcasts of conference to be available at: www.operaandsociety.org.

• 2007-2008: Secretary of Undergraduate Studies Committee, member of Research and Library Committee, College of Fine Arts Academic Conduct Committee, and Director's task force for Faculty Merit Review, Merit Review Committee.

• 2007-2009: Invited special guest composers Peter Westergaard (Princeton), Martin Bresnick (Yale), Fred Lerdahl (Columbia) and William Bolcom (U. of Michigan) to speak to the Boston University Composers’ Forum.

• 2007-2009: First reader, JungHee Park. “A performers perspective: A performance history and analysis of Sergei Prokofiev’s Ten Piano Pieces, Op. 12.”. DMA dissertation in Piano.

• Jan. 2008: Arranged special concert of Puccini arias, duets and scenes in honor of a visit by Simonetta Puccini, the composer’s granddaughter and the Consul General of Italy, Liborio Stellino.

• 2006-present: Member of Doctoral orals committees, Boston University School of Music, for DMAs: Tsu-Wen Chen, Rebecca Hartka, Ivana Lisak, Vartan Aghababian, Jung Sun Yoon, Mei-mi Lan, June Chen, Daniel Broniatowski, Wen-Hsuan Lin, and Ph.D.s: Andrew Shryock, Stefano Graziano.

• 2006-2009: Member of the College of Fine Arts Academic Conduct Committee, and the School of Music Student Life and Honors, and Research and Library Committees.

Other professional activities

• Oct. 2010: Pre-concert lecturer, Boston Lyric Opera.

• May 2009: Pi Kappa Lambda, member Alpha Kappa chapter at Boston University.

• 1999-2008: Pre-concert lecturer, New York City Opera.

• May 2004: Pre-concert lecturer, Springfield Symphony, Springfield, Massachusetts.

• March 2003: Guest lecturer in music, University of Massachusetts-Amherst.

• 1998-2001: Guest lecturer, Harvard University, in Lewis Lockwood's course, Opera: Perspectives in Music and Drama.

• Spring 1997: Pre-concert lecturer, Boston Lyric Opera.

Additional Studies

• June 2001: Mannes Summer Institute in Historical Music Theory, New York City, participant in seminars on Ancient Greek Music Theory (with Thomas Mathiesen) and Early 18th-Century Music Theory (with Joel Lester).

• 1996-2001: Derek Bok Center, Harvard University, college-level pedagogical training.

• 1985: Yale School of Music, conducting with Otto-Werner Mueller.

• 1982: Aspen Music Festival, harpsichord studies, accompanying fellowship.

• 1978: Accademia Chigiana, Siena, Italy, solo piano master class with Guido Agosti.

• 1978: Conservatorio di Musica “S. Cecilia,” Rome, Italy, organ studies.

Languages

• fluent Italian, French, reading ability in German.

Program Notes

• “Out of Time: La Clemenza di Tito” Boston University, April 2013.

• “The Twists and Trysts of Tosca” Boston Lyric Opera, Fall 2010.

• “La Bohème,” Boston University Opera Institute, April 2007.

• “Being Mario Cavaradossi,” written with Placido Domingo, Washington National Opera, Spring 2005 Season Book.

• “I love Lucia,” New York City Opera, 2003.

• “The Comic Puccini,” New York City Opera, 2002.

• “A Living Butterfly,” New York City Opera, 2000.

• “To Jump or not to Jump,” season guide 2000-2001, New York City Opera.

• “Tosca's Twists,” New York City Opera, 1999.

• “The Timelessness of Tosca,” New York City Opera, 1998.

• “Dawn at Dusk: The Past and Future Meet in Puccini's last Opera,” program notes, Opera on Original Site (Beijing, China), 1998.

• “The Creation of Tosca,” English National Opera, 1994.