Bio


Heather Hadlock studies 18th- and 19th-century French and Italian opera, with a focus on changing norms for representing masculinity in opera on nineteenth century stages and in contemporary productions of classic operas. Her research repertoire encompasses Italian bel canto opera, Berlioz, Offenbach, operatic masculinities, opera in the age of its digital mediation, and divas and technology. She approaches operatic voices and performance through feminist theories of difference, vocality, and embodiment; gender and sexuality studies; and dynamics of adaptation between opera, literature, and video. She has directed Stanford's interdisciplinary Program in Feminist, Gender, and Sexuality Studies, and served on the Phiip Brett Award committee and board of the AMS LGBTQ Study Group. She serves on the editorial board of the journal Nineteenth-Century Music.

Academic Appointments


  • Associate Professor, Music

Administrative Appointments


  • Assistant Professor of Music, Stanford University (1996 - 2004)
  • Associate Professor of Music, Stanford University (2004 - Present)
  • Director of the Program in Feminist Studies, Stanford University (2008 - 2012)

Boards, Advisory Committees, Professional Organizations


  • Co-Chair of the Board, LGBTQ Study Group of the American Musicological Society (2016 - Present)
  • Chair, Musicology Search Committee, Stanford University (2011 - 2012)
  • Editorial Board, Nineteenth-Century Music (2008 - Present)
  • Director, Interdisciplinary Program in Feminist Studies, Stanford University (2008 - 2012)

Program Affiliations


  • Feminist, Gender, and Sexuality Studies

Professional Education


  • Ph.D., Princeton University, Musicology (1996)

2019-20 Courses


Stanford Advisees


  • Doctoral Dissertation Reader (AC)
    Joe Cadagin
  • Orals Chair
    Ruth Wurl
  • Orals Evaluator
    Joe Cadagin
  • Doctoral Dissertation Advisor (AC)
    Kelly Christensen, Tysen Dauer, Michael Kinney
  • Doctoral (Program)
    Kelly Christensen, Tysen Dauer, Michael Kinney, Elea McLaughlin, Hanyu Qu

All Publications


  • Light Music meretrix Offenbach, "Rondeau de la Lettre' (Metella), La Vie parisienne, Act II CAMBRIDGE OPERA JOURNAL Hadlock, H. 2016; 28 (2): 203-207
  • Women in Music www.oxfordbibliographies.com Hadlock, H. 2011
  • Sonorous bodies: Women and the glass harmonica JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY Hadlock, H. 2000; 53 (3): 507-542
  • After Wagner: Gilliam and Daub OPERA QUARTERLY Hadlock, H. 2015; 31 (4): 308-315

    View details for DOI 10.1093/oq/kbv011

    View details for Web of Science ID 000368889000007

  • Portrait of a castrato: politics, patronage and music in the life of Atto Melani (Book Review) EARLY MUSIC Book Review Authored by: Hadlock, H. 2010; 38 (3): 446-449

    View details for DOI 10.1093/em/caq057

    View details for Web of Science ID 000282249600013

  • Return of the repressed: The Prima donna from Hoffmann's Tales to Offenbach's Les contes National Traditions in Nineteenth-Century Opera Hadlock, H. Ashgate . 2010: 396
  • Music of the Sirens (Book Review) JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY Book Review Authored by: Hadlock, H. 2008; 61 (3): 633-645
  • The Courtesan's Arts: Cross-Cultural Perspectives (Book Review) JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY Book Review Authored by: Hadlock, H. 2008; 61 (3): 633-645
  • Tancredi and Semiramide The Cambridge Companion to Rossini Hadlock, H. edited by Senici, E. Cambridge University Press. 2004: 139–158
  • Berlioz, Ophelia, and feminist hermeneutics Berlioz: Past, Present, Future Hadlock, H. edited by Bloom, P. University of Rochester Press. 2003: 123–133
  • 'The firmness of a female hand' in The Corsair and Il Corsaro Cambridge Opera Journal Hadlock, H. 2002; 14(1-2): 47-57
  • Offenbach Les 'Brigands' NOTES Hadlock, H. 1996; 53 (1): 130-132
  • Offenbach La 'Vie Parisienne' NOTES Hadlock, H. 1996; 53 (1): 130-132