Professionnal
A- Specializations
- 18th-century opera (especially opéra-comique, and exchanges between national operatic traditions), pantomime ballet, music in Vienna, the music of Gluck, the music of Mozart, performance practice, musical iconography
B- Education
- 1986 Ph.D. in Music History, University of California, Berkeley; Dissertation: “Christoph Willibald Gluck and opéra-comique in Vienna, 1754-1764” (principal adviser: Daniel Heartz)
- 1979 M.A. in Music History, UC Berkeley
- 1977 A.B., UC Berkeley (Magna cum Laude, with Honors in Music)
C- Employment
- 2001- Professor of Music History, University of Southern California, Los Angeles
- 1991-2000 Associate Professor of Music History, USC
- 1985-91 Assistant Professor of Music History, USC
- 1985 Lecturer in Music History, University of Wisconsin, Madison
D- Honors and awards
- 2005 Mellon Award for Excellence in Mentoring, USC
- 1999 Elected to Akademie für Mozart-Forschung (Mozarteum, Salzburg)
- 1988/9 Research grant from National Endowment for the Humanities (for monograph on Gluck and the French Theatre in Vienna)
- 1979/80 Alfred Hertz Memorial Travelling Fellowship (for study of harpsichord with Gustav Leonhardt at Sweelinck Conservatorium, Amsterdam)
E- Foreign languages
- French, German, Italian, Dutch
Publications
A- Books
- ed., with Rebecca Harris-Warrick, The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and his World (Madison: University of Wisconsin Press, 2005)
- W. A. Mozart: Così fan tutte (Cambridge Opera Handbook; Cambridge University Press, 1995) (208 pp.)
- Gluck and the French Theatre in Vienna (Oxford: Clarendon Press, 1991) (525 pp.)
B- Articles (selection)
- “Gluck’s Ezio (Prague, 1750) and the Female Operagoer,” in Gluck-Studien, vol. 7, ed. Thomas Betzwieser and Daniel Brandenburg (Kassel: Bärenreiter, in press)
- “Weiß und Rosenfarb: The End of Noverrian Ballet in Vienna and the Beginnings of the Wienerischer Musenalmanach,” in The works of Monsieur Noverre translated from the French: Noverre, his circle, and the English Lettres sur la danse, ed. Michael Burden and Jennifer Thorp (New York: Pendragon, 2014)
- “Les sources musicales des ballets de Noverre dans les archives de la famille Schwarzenberg de Český Krumlov,” in Jean-Georges Noverre (1727-1810): Un artiste européen au siècle des Lumières, ed. Laurine Quetin, Musicorum 10 (2011): 293-314
- “L’Arbre enchanté in Paris, Vienna, and Versailles: The Transformations of a conte by La Fontaine,” in Gluck Studien, 6: Gluck auf dem Theater: Bericht der internationalen Tagung Nürnberg 2008, ed. Daniel Brandenburg and Martina Hochreiter (Kassel: Bärenreiter, 2011), 219-36
- “Leporello’s ‘Catalogue’ aria: The French Connection,” in Quinto seminario di filologia musicale: Mozart 2006, ed. Giacomo Fornari (Pisa: Edizioni ETS, 2011), 135-75
- “Le ballet-pantomime réformé et son nouveau public: Paris, Vienne,” in Musique et Geste en France de Lully à la Révolution: Études sur la musique, le théâtre et la danse, ed. Jacqueline Waeber, Publications de la Société Suisse de Musicologie, II/50 (Bern: Peter Lang, 2009), 197-213
- “Musicological Introduction” to Wolfgang Amadeus Mozart, Idomeneo, K. 366, with Ballet K. 367: Facsimile of the Autograph Score, Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Biblioteka Jagiellońska Kraków (Mus. ms. autogr. W. A. Mozart 366, 367, 489 and 490) (Los Altos, CA: Packard Humanities Institute; Kassel: Bärenreiter, 2006), 3:9-20, 3:29-41 (translation)
- “Gli Sciti di Gluck,” Le arti 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, 2006), 555-73
- “Wiener Ballette im Schwarzenbergischen Archiv zu Český Krumlov: Probleme der Autorschaft und Chronologie,” in Tanzdramen/Opéra-comique, Kolloquiumsbericht der Gluck-Gesamtausgabe, Gluck-Studien 2 (2000), 9-34
- Various articles for The New Grove Dictionary of Music and Musicians (revised edition), ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001) [online version (2000) at www.grovemusic.com]:
- “‘Mon opéra italien’: Giacomo Durazzo and the Genesis of Alcide al bivio”, in Pietro Metastasio, uomo universale (1698-1782), ed. Elisabeth Hilscher and Andrea Sommer-Mathis (Vienna: Akademie der Wissenschaften, 2000), 115-42
- “Les Rêveries renouvelées des Grecs: Facture, Function and performance Practice in a Vaudeville Parody of Gluck’s Iphigénie en Tauride (1779),” in Timbre und Vaudeville. Zur Geschichte und Problematik einer populären Gattung im 17. und 18. Jahrhundert (Bericht über den Kongreß in Bad Homburg 1996), ed. Herbert Schneider (Hildesheim: G. Olms, 1999), 306-43
- “I cacciatori amanti: The Portrait of Count Giacomo Durazzo and His Wife by Martin van Meytens the Younger,” Metropolitan Museum Journal 32 (1997), 161-74
- “Lo specchio francese: Viennese Opera Buffa and the Legacy of French Theatre,” in Opera Buffa in Mozart’s Vienna, ed. Mary Hunter and James Webster (Cambridge University Press, 1997), 50-81
- (with John A. Rice), “Salieri’s Così fan tutte,” Cambridge Opera Journal 8:1 (March 1996), 17-43
- “Zéphire et Flore: A ‘Galant’ Early Ballet by Angiolini and Gluck,” in Opera and the Enlightenment, ed. Thomas Bauman and Marita McClymonds (Cambridge University Press, 1995), 189-216
- Various articles for The New Grove Dictionary of Opera, ed. Stanley Sadie, 4 vols. (London: Macmillan, 1992):
- “La diffusion et l’influence de l’opéra-comique en Europe au XVIIIe siècle,” chapter in L’Opéra-comique en France au XVIIIe siècle, ed. Philippe Vendrix (Liège: Pierre Mardaga, 1992), 283-340
- “Maria Theresa’s Vienna,” chapter in Man and music: The Classical Era, ed. Neal Zaslaw; general editor Stanley Sadie (London: Macmillan; Englewood Cliffs: Prentice Hall, 1989), 99-125
-“Gluck als Hauskomponist für das französische Theater in Wien,” in Gluck in Wien: Kongreßbericht Wien 1987, ed. Gerhard Croll and Monika Woitas (Gluck Studien 1; Kassel: Bärenreiter, 1989), 89-99
- “Le Mandarin: An unknown Gluck opera?” in The Musical Times vol. 127, no. 1737 (November 1987), 619-23
- “Beaumarchais, Mozart and the Vaudeville: Two Examples from ‘The Marriage of Figaro’,” in The Musical Times vol. 127, no. 1718 (May 1986), 261-5
- “Gluck’s Rencontre imprévue and its Revisions,” in Journal of the American Musicological Society 36:3 (Fall 1983), 498-518
D- Editions
- Michel-Jean Sedaine, Le Diable à quatre (1756/7), in Sedaine, Théâtre complet (Paris: Classiques Garnier) (in collaboration with Jeanne-Marie Hostiou, Groupe de Recherches Interdisciplinaires sur l'Histoire du Littéraire, École des Hautes Études en Sciences Sociales (Paris) (in preparation)
- Christoph Gluck, L’Arbre enchanté (first version, 1759), in C. W. Gluck, Sämtliche Werke, IV:4 (Kassel: Bärenreiter, in press)
- Christoph Gluck, L’Arbre enchanté (revised version, 1775), in C. W. Gluck, Sämtliche Werke, IV:11 (Kassel: Bärenreiter, 2009)
- Wolfgang Amadeus Mozart, Idomeneo: Kritischer Bericht, in Mozart: Neue Ausgabe sämtlicher Werke (Kassel: Bärenreiter, 2005)
- Christoph Gluck, Le Diable à quatre, in C. W. Gluck, Sämtliche Werke, IV:3 (Kassel: Bärenreiter, 1992)
E- Current projects
- Critical edition of Gluck, L’Arbre enchanté (first version, 1759), in C. W. Gluck, Sämtliche Werke
- Collaborative book, ed. Michael Burden and Jennifer Thorp, on Dance on the Enlightenment Stage, for Studies on Voltaire and the Eighteenth Century (Oxford)
- Article (with Michael Burden) on a previously unknown manuscript account of the 1754 festivities at Schlosshof and Gluck’s Le cinesi
Professional activity
A- Memberships
- 2001 Society for Eighteenth-Century Music
- 1999 Akademie für Mozart-Forschung
- 1998 Mozart Society of America
- 1984 American Society for Eighteenth-Century Studies
- 1978 American Musicological Society
B- Professional activity (academic)
- 2014 Editorial Board, Revue Musicorum (ed. Laurine Quetin)
- 2013-2015 Member, American Musicological Society (AMS) Board of Directors
- 2005/6 Program Chair, 3rd biennial conference of the Mozart Society of America: “Mozart’s Choral Music: Composition, Contexts, Performance” (Indiana University)
- 2004-2007 Editor-in-Chief, Journal of the American Musicological Society
- 1998-2004 Editorial Board, Journal of the American Musicological Society
- 1991 Editorial Board, Gluck-Gesamtausgabe
C- Professional activity (non academic) (selection)
- 2012 Consultation on musical notation in inlay of three 18th-century commodes by David Roentgen, in connection with exhibition on Abraham and David Roentgen at Metropolitan Museumof Art, New York
- 2011 Program essay for CD recording (Virgin Classics) of Christoph Gluck, Ezio (1750 Prague version) by Il complesso barocco, dir. Alan Curtis
- 2007 Consultation on portrait of Count Giacomo Durazzo by imperial court painter Martin van Meytens, prior to sale at Sotheby’s, New York
- 2004 Consultant on concert at J. Paul Getty Museum (“Elaborate Measures: Performing the Orient”) in conjunction with exhibit “Imagining the Orient”
- 2003 Consultant on painting by Jean Pillement depicting a Viennese ballet of 1763, atJ. Paul Getty Museum, Los Angeles
- 2002 Program notes for recital by Cecilia Bartoli and Orchestra of the Age of Enlightenment, Carnegie Hall(New York), Symphony Hall(Boston); Barbican Centre(London)
- 2001/2 Consultant on production of Gluck’s opéra-comique Cythère assiégée (first modern performance) at Wilfrid Laurier University, Waterloo, Ontario (Canada)
- 1997 Consultant on production of Gluck’s opéra-comique La Rencontre imprévue and ballet La Halte des Calmouckes by Les Arts Florissants (Paris), dir. William Christie
- 1989-90 Restoration of original music and text, and program notes for performance and CD recording (Erato) of Gluck, La Rencontre imprévue (with ballet La Halte des Calmouckes) by Opéra de Lyon, dir. John Eliot Gardiner
Revue Musicorum
Comité scientifique
Bruce Alan Brown
Professor of Music History, University of Southern California, Los Angeles
mail : brucebro@usc.edu
