In print:

Chamber music without piano, edited by Martina Grempler and Daniela Macchione (BA 10511, Kassel 2007). Andante, e Tema con Variazioni; La Notte, Temporale, Preghiera, Caccia; Aria variata per il Violino; Andante e Tema con Variazioni per Arpa e Violino; Serenata; Duetto per Violoncello e Contrabbasso; Andantino et Allegro brillante pour Harpe

In progress:

Petite Messe solennelle, edited by Patricia B. Brauner and Philip Gossett, both versions for 2 pianos and harmonium.

Music for Band, edited by Denise Gallo.

Il barbiere di Siviglia, edited by Patricia B. Brauner (BA 10506).

La cambiale di matrimonio, edited by Alexandra Amati-Camperi.

Recently published :

Full scores:

Rossini, Zelmira, edited by Helen Greenwald and Kathleen Kuzmick Hansell (Edizione critica, Series I vol. 33, Pesaro 2005)

Verdi, Macbeth (1847 [appendix], 1865 [principal version]), edited by David Lawton (Works, Series I vol. 10, Chicago, 2005)

Vocal scores:

Rossini, L'occasione fa il ladro (Milan, 2007)

Verdi, Macbeth (Milan, 2007)

Rossini, Ermione (Milan, 2006)

Rossini, Il viaggio a Reims (Milan, 2006)

 

Visiting scholars at the Department of Music,
the University of Chicago:

 

Helen Greenwald (winter-spring 2008), a musicologist, cellist, and translator, teaches music history and musicology at the New England Conservatory in Boston, Massachusetts. B.S., M.A., Hofstra University; M.Phil, Ph.D., provost’s scholar, City University of New York; Certificate with honors in German, University of Vienna. Cello studies with David Wells, George Ricci.

Her work has appeared in such journals as 19th-Century Music, Acta Musicologica, Music & Letters, Journal of the American Musicological Society, Current Musicology, the Mozart-Jahrbuch, Nineteenth-Century Music Review, the Music Library Association’s Notes, Studi musicali toscani, Newsletter of the Résource Internationale d’Iconographie Musicale, and Cambridge Opera Journal. Greenwald has presented papers in the international forum, including the 1991 International Mozart Congress (Salzburg), the 2001 Verdi Congress (Parma), the Royal Music Association, the British Society for Music Analysis, the biannual British 19th-Century Music Conference, the Salzburg Symposium, the American Musicological Society, the Society for Music Theory, the New England Conference of Music Theorists, the Music Theory Society of New York State, and the Modern Language Association. She is co-editor of the critical edition of Rossini's Zelmira, published at the end of 2005 by Fondazione Rossini/Ricordi. Most recently, Greenwald was contributing curator and consultant to the international exhibition "La Scena di Puccini", shown September 2003–February 2004 at the Fondazione Ragghianti in Lucca, Italy. Greenwald also speaks and writes regularly for the Boston Symphony Orchestra and the New York Opera. Her principal areas of research include vocal music of the 18th-21st centuries.

She is currently preparing the critical edition of Verdi's Attila.

Read a profile of Helen Greenwald at NEC Today.

Stefano Castelvecchi (spring quarter 2007) teaches at the University of Cambridge (Faculty of Music and St. John's College). He studied Humanities at the University of Rome and Composition at the Conservatory of Rome, and he holds a Ph. D. in Musicology from the University of Chicago. Before Cambridge, he taught at Vassar College.

Castelvecchi has published critical editions of works by Rossini and Verdi and various articles on eighteenth- and nineteenth-century Italian opera.

In 2004 he joined the Editorial Board of the Journal of the American Musicological Society, and more recently was elected to the Council of the American Musicological Society.

Honors include the Stuart M. Tave Teaching Fellowship from the University of Chicago, two awards from the American Musicological Society, and a Research Leave Grant from the Arts and Humanities Research Board.

PUBLICATIONS

Critical Editions

Cantata per l'Imperatore Francesco I d'Austria, in Edizione critica delle opere di Gioachino Rossini (Pesaro: Fondazione Rossini, 1999)

Alzira, in The Works of / Le Opere di Giuseppe Verdi, vol. I/8 (Chicago: University of Chicago Press / Milan: Ricordi, 1994), with the collaboration of Jonathan Cheskin

Articles and shorter papers

"Commentary: Was Verdi a 'Revolutionary'?" Journal of Interdisciplinary History 36.4 (2006) 615-620

"Verdi per la storia d'Italia", in Verdi 2001, ed. by Fabrizio della Seta et al. (Florence: Olschki, 2003)

"Directions in Musicology: Opening Statement," in Musicology and Sister Disciplines: Past, Present and Future, ed. David Greer (Oxford: Oxford University Press, 2000)

"Sentimental and Anti-Sentimental in Le nozze di Figaro," Journal of the American Musicological Society 53/1 (Spring 2000)

"The 'Textualisation' of Opera," in Performing Verdi, ed. Roger Parker and Alison Latham (Oxford: Oxford University Press, 2000)

"L'opera come drame: Il disertore," in Giovanni Simone Mayr: L'opera teatrale e la musica sacra, ed. Francesco Bellotto (Bergamo: Comune, 1997), pp. 37-49

"From Nina to Nina: Psychodrama, Absorption and Sentiment in the 1780s," Cambridge Opera Journal 8,2 (July 1996), pp. 91-112

"Sullo statuto del testo verbale nell'opera," in Gioachino Rossini 1792-1992: Il testo e la scena, ed. Paolo Fabbri (Pesaro: Fondazione Rossini, 1994), pp. 309-14

"Walter Scott, Rossini e la couleur ossianique: Il contesto culturale della Donna del lago," Bollettino del Centro rossiniano di studi (1993), pp. 57-71

"Alcune considerazioni sulla struttura drammaturgico-musicale della farsa," in I vicini di Mozart. II. La farsa musicale veneziana (1750-1810), ed. David Bryant (Florence: Olschki, 1989), pp. 625-31

"Le Rossiniane di Mauro Giuliani," Bollettino del Centro rossiniano di studi (1986), pp. 33-72

Other Publications

"Il Bruschino e la farsa veneziana," liner notes for a CD of Rossini's Signor Bruschino (Deutsche Grammophon, 1993)

"La renaissance rossinienne," in Damien Colas, Rossini: L'opéra de lumiére (Paris: Gallimard, 1992)

Conoscere la musica. Linguaggi grammatiche strutture (Rome: Editori Riuniti, 1988), with Elisabetta Stazi

 

Alberto Rizzuti (Fall Quarter 2006)

RIZZUTI earned his Ph.D. from the University of Chicago in 2001 with the dissertation
"Music for a Risorgimento Myth: Joan of Arc 1789–1849," written under the guidance of Philip
Gossett. He has served as a Researcher at the University of Udine (1994–2000) and is now active
as an Associate Professor at the University of Turin.

Publications

"Sognatori, utopisti e disertori nei Lieder militari di Gustav Mahler" (Firenze, De Sono - Passigli, 1990).

"Fenomeni del baraccone. Il Guarany di Antonio Carlos Gomes fra donne, cavallier, armi ed orrori" (Torino, De Sono - Paravia, 1997).

"A salti e lanci. Il dibattito sul Volkslied nell'epoca dello Sturm und Drang," a cura di Clelia Parvopassu e Alberto Rizzuti, (Alessandria, Edizioni dell'Orso, 1997)

"Viganò's 'Giovanna D'arco' and Manzoni's 'March 1821' in the Storm of 1821 Italy," Music and Letters 86.2 (2005) 186-201.

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