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
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Associate Professor, Music
Administrative Appointments
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Assistant Professor of Music, Stanford University (1996 - 2004)
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Associate Professor of Music, Stanford University (2004 - Present)
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Director of the Program in Feminist Studies, Stanford University (2008 - 2012)
Boards, Advisory Committees, Professional Organizations
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Co-Chair of the Board, LGBTQ Study Group of the American Musicological Society (2016 - Present)
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Chair, Musicology Search Committee, Stanford University (2011 - 2012)
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Editorial Board, Nineteenth-Century Music (2008 - Present)
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Director, Interdisciplinary Program in Feminist Studies, Stanford University (2008 - 2012)
Program Affiliations
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Feminist, Gender, and Sexuality Studies
Professional Education
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Ph.D., Princeton University, Musicology (1996)
2024-25 Courses
- Music History 1600-1830
MUSIC 41 (Win) - Proseminar in Musicology and Music Bibliography
MUSIC 200A (Aut) - Research Seminar in Musicology
MUSIC 310 (Spr) - Studies in Music of the Classical Period: Haydn and Mozart: Music in the Age of Enlightenment
MUSIC 143J (Win) -
Independent Studies (8)
- Concentrations Project
MUSIC 198 (Aut, Win, Spr) - Independent Study
MUSIC 199 (Aut, Win, Spr) - Independent Study
MUSIC 299 (Aut, Win, Spr) - Internship in Feminist Studies
FEMGEN 108 (Win, Spr) - PhD Dissertation Proposal
MUSIC 398 (Aut, Win, Spr) - Practicum Internship
MUSIC 390 (Aut, Win, Spr) - Readings in Music Theory
MUSIC 321 (Aut, Win, Spr) - Research in Musicology
MUSIC 302 (Aut, Win, Spr)
- Concentrations Project
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Prior Year Courses
2022-23 Courses
- Methods for Studying Gender and Sexuality in Music
FEMGEN 300J, MUSIC 300J (Win) - Music History 1600-1830
MUSIC 41 (Win) - Proseminar in Musicology and Music Bibliography
MUSIC 200A (Aut) - Women Making Music
FEMGEN 13N, MUSIC 14N (Aut)
2021-22 Courses
- Graduate Workshop: Feminist, Gender, and Sexuality Studies (Queer Cinemas around the World)
FEMGEN 299 (Aut) - Music History 1600-1830
MUSIC 41 (Win) - Proseminar in Musicology and Music Bibliography
MUSIC 200A (Aut) - Research Seminar in Musicology
MUSIC 310 (Spr) - Women Making Music
FEMGEN 13N, MUSIC 14N (Win)
- Methods for Studying Gender and Sexuality in Music
All Publications
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Light Music meretrix Offenbach, "Rondeau de la Lettre' (Metella), La Vie parisienne, Act II
CAMBRIDGE OPERA JOURNAL
2016; 28 (2): 203-207
View details for DOI 10.1017/S0954586716000252
View details for Web of Science ID 000385678400019
- "The Televisual Apotheosis of the Diva in István Szabó's Meeting Venus" Technology and the Diva edited by Henson, K. Cambridge University Press. 2016: 136–149
- Different masculinities: Androgyny, effeminacy, and sentiment in Rossini's La Donna del lago Rethinking Difference in Music Scholarship edited by Bloechl, O., Lowe, M., Kallberg, J. Cambridge University Press. 2014: 170–213
- 'Ce bal est original!' Classical parody and burlesque in Orphée aux enfers by Crémieux, Halévy, and Offenbach Music's Obedient Daughter: The opera libretto from source to score edited by Lichtenstein, S. Rodopi. 2014: 155–184
- Opera and Gender Studies The Cambridge Companion to Opera Studies edited by Till, N. Cambridge University Press. 2012: 257–275
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Women in Music
www.oxfordbibliographies.com
2011
View details for DOI 10.1093/OBO/9780199757824-0078
- Women playing men in Italian opera, 1810-1835 Women's Voices Across Musical Worlds edited by Bernstein, J. Northeastern University Press. 2004: 285–307
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Sonorous bodies: Women and the glass harmonica
JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
2000; 53 (3): 507-542
View details for Web of Science ID 000169202500002
- The Career of Cherubino, or, The Trouser Role Grows Up Siren Songs: Representations of Gender and Sexuality in Opera edited by Smart, M. Princeton University Press. 2000: 67–92
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After Wagner: Gilliam and Daub
OPERA QUARTERLY
2015; 31 (4): 308-315
View details for DOI 10.1093/oq/kbv011
View details for Web of Science ID 000368889000007
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Portrait of a castrato: politics, patronage and music in the life of Atto Melani (Book Review)
EARLY MUSIC
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 Ashgate . 2010: 396
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Music of the Sirens (Book Review)
JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
2008; 61 (3): 633-645
View details for Web of Science ID 000261188400015
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The Courtesan's Arts: Cross-Cultural Perspectives (Book Review)
JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
2008; 61 (3): 633-645
View details for Web of Science ID 000261188400014
- Tancredi and Semiramide The Cambridge Companion to Rossini edited by Senici, E. Cambridge University Press. 2004: 139–158
- Berlioz, Ophelia, and feminist hermeneutics Berlioz: Past, Present, Future 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 2002; 14(1-2): 47-57
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Offenbach Les 'Brigands'
NOTES
1996; 53 (1): 130-132
View details for Web of Science ID A1996VE66500048
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Offenbach La 'Vie Parisienne'
NOTES
1996; 53 (1): 130-132
View details for Web of Science ID A1996VE66500047