- Introduction to Graduate Studies
- Graduate Seminar on Wagner
- MPhil, Music History, University of Cambridge
- AB, Music History and Theory, University of Chicago
- Britten-Pears Festival Orchestra, 2010
- Banff Festival Orchestra, 2009
- New York String Orchestra Seminar, 2007
Awards and Distinctions
- UC Berkeley Townsend Center for the Humanities, Dissertation Fellow, 2016-17
- UC Berkeley Institute of International Studies, John L. Simpson Memorial Research Fellowship in International and Comparative Studies, 2015-16
- British Library, Edison Research Fellowship, 2011-12
What is your hometown?
New York, NY
What is your favorite recording?
The MET Opera's 1988 Siegfried, the Berlin Philharmonic's Parsifal under Herbert von Karajan, Ian Bostridge's Lieder recordings, and Dinu Lipatti's complete Chopin set.
What are you passionate about outside of music?
Cooking, reading and writing, spending time with my family, and hiking in the beautiful California wilderness.
Who were your major teachers?
Mary Ann Smart and James Q. Davies at UC Berkeley, and Philip Gossett at the University of Chicago.
What was the defining moment when you decided to pursue music as a career?
A defining moment for me was when one of my bass teachers at Juilliard gave me a ticket to see my first opera at the MET. It was Don Pasquale with Anna Netrebko and Juan Diego Florez. I loved it and I have been hooked on opera ever since.
If you weren't a musician or teacher, what do you think you would be doing now?
I probably would have ended up becoming a travel writer.
What is your daily practice routine?
I have dedicated writing time every morning from 9:30-11:30am. I then have lunch and write or read in the library until it closes. After the library is closed, I go home and have a break!
If you could play only three composers for the rest of your life, who would they be?
Wagner, Brahms, and Mahler, but it is very hard to choose just three!
From a music history perspective, what year and city are most important to you?
What are your academic publications?
“Wagnerian Climatic Fantasies: Sound, Space, and Breath,” European Romantic Review, Vol. 28/3 (May 2017): 343-348.
“The Nightingale, the Owl, and the Jew in the Thorn-bush: Relocating Anti-Semitism in Die Meistersinger,” co-authored with Thomas Grey (Stanford), Cambridge Opera Journal, Vol. 28/1 (March 2016): 1-35.
“Book Review: David Trippett, Wagner’s Melodies,” MLA Notes: Quarterly Journal of the Music Library Association, Vol. 70/4 (June 2014): 708-710.