I acquire books in music for the Press and I welcome both scholarly and general-reader titles. My interests are wide and reflect existing strengths and new directions in the music list. I am seeking in particular books that take up novel and imaginative approaches to music’s materiality, production, circulation, performance (live and mediated), and reception; the intersection of music and technologies, both historical and contemporary; voice and the body; opera and theatricality broadly construed; and sound in/as history. Just published or forthcoming are Richard Kramer’s Cherubino’s Leap: In Search of the Enlightenment Moment; Deirdre Loughridge’s Haydn’s Sunrise, Beethoven’s Shadow: Audiovisual Culture and the Emergence of Musical Romanticism; Emily Wilbourne’s Seventeenth-Century Opera and the Sound of the Commedia dell’Arte; James Q. Davies and Ellen Lockhart’s Sound Knowledge: Music and Science in London, 1789-1851; Olivia Bloechl’s Opera and the Political Imaginary in Old Regime France; Melina Esse’s Saffo’s Lyre: Improvising Italy’s Past in Nineteenth-Century Opera; Matthew Champion’s The Fullness of Time: Temporalities of the Fifteenth-Century Low Countries; and Fritz Trumpi’s The Political Orchestra: The Vienna and Berlin Philarmonics During the Third Reich. Recent general-interest books are Edward Dusinberre’s Beethoven for a Later Age: Living with the String Quartets and Andrew Gant’s O Sing Unto the Lord: A History of English Church Music.
I am also the managing editor of The Works of Giuseppe Verdi, a long-standing co-publication with Ricordi. I due Foscari, edited by Andreas Giger, will appear in early 2017, followed in 2018 by Francesco Izzo’s Un giorno di regno. The study-score reprints of David Lawton’s Il trovatore and David Rosen’s Messa da Requiem were launched in Fall 2016, with Martin Chusid’s Rigoletto and Fabrizio Della Seta’s La traviata to follow in 2017.
After degrees in musicology and piano from the Music Conservatory and the University of Venice, I pursued doctoral studies in musicology at the Music Department of the University of Chicago (MA 1993, ABD 1998). I joined the Press as editor in 2012, having held editorial positions at Ricordi and Edizioni E.Elle and having worked in various capacities on the Verdi critical edition since 1990. I am active as music and opera critic for a number of publications, including L’opera (Milan), Chicago on the Aisle, and Classical Voice North America.
I am ably assisted by editorial associate Evan White. We welcome inquiries from literary agents.