Annelies is a cultural historian of music focusing on on music, theatre, and politics in the long nineteenth century (1789-1914). Her major interests are opera and other music theatre genres; staging and performance practice; politics, militarism, and war; and gender studies.
After receiving a B.A. in vocal performance from the Royal Conservatory in her native city Antwerp (Belgium), Annelies studied musicology at the Catholic University of Leuven and the Humboldt University in Berlin. She completed her PhD at Yale University. Her doctoral work investigated how history was represented through opera in France during Napoleon I’s reign (1799-1815). She is currently transforming this work into a book, provisionally titled ‘Performing Transhistoricity at the Opéra, 1799-1815’. In addition to her music studies, she worked as an assistant dramaturge at Opera Flanders (2010-2011) and still writes programme notes for various European opera and concert venues.
In her post-doctoral research, Annelies explores the intersections between war, music, and theatre in Britain and France from the French Revolution to the Crimean War (1789–1856). She focuses specifically on popular theatre (such as equestrian mass spectacles, comic opera, vaudeville) and how its production and circulation impacted the nineteenth-century imaginary of war and the dissemination of ideologies of militarism as interconnected with nationalism, colonialism, and trauma. While her doctoral research was largely focused on France, her new project also interrogates the mobility of theatre, whether it concerns its physical circulation or more imaginary forms of movement. To this end, she is collaborating with Dr Clare Siviter (Bristol) on a project entitled ‘Theatre on the move in times of conflict, 1750-1850’, supported among others by a British Academy\Leverhulme Small Research Grant. The project started off with a conference at Magdalen College (18th–19th September 2019).
Annelies has experience teaching music history and musicianship courses. She especially likes delving into materials interrogating the links between music, politics, and war, or the intersections between performance and gender. She taught a Master’s Elective Course on music and war (2019) and ‘“Diva”: Female Singers in the Last Century’ (2020). She is also a tutor at Magdalen College for the undergraduate course ‘Musical Thought and Scholarship’. At present, she is also teaching BA courses in music analysis and in music history at Utrecht University.
Andries A. ‘Mobilising Historicity and couleur locale: Fernand Cortez (1809) and Narratives of Empire at the Opéra’, in French Historical Studies. (Under Review)
Andries A. and C. Siviter, (eds). Theatrical Encounters during the Revolutionary and Napoleonic Wars, guest-edited issue for the Journal of War & Culture Studies. (publication foreseen for Spring 2021).
Andries A. Witzthumb, Ignaz’. In Österreichisches Biographisches Lexikon, Österreichische Akademie der Wissenschaften, ed. Ernst Bruckmüller, Christine Gruber et al. http://www.biographien.ac.at. (forthcoming)
Andries A. ‘Uniting the Arts to Stage the Nation: Le Sueur’s Ossian (1804) in Napoleonic Paris’, in Cambridge Opera Journal 32/2-3 (2019), 153-87.
Andries A. ‘Pariser Fastenzeit-Opern und Oratorien: Zwischen Sentimentalität und Spektakel’. In Moïse (Rossini in Wildbad, Belcanto Opera Festival 2018), ed. Reto Müller, 8-13. (Grafenau: Penso Pr, 2018).
Andries, A. ‘Digital Resource Review: Opera Ballet Primary Sources’, in Nineteenth-Century Music Review 15/2 (2018), 309-321.
Andries A. and Katherine Hambridge. ‘Music, Women, and the Allure of Napoleon’. In The Allure of Napoleon: Essays Inspired by the Collections of The Bowes Museum, ed. Thomas Stammers, 19-22. (The Bowes Museum, Barnard Castle, 2017).
Andries, A. ‘Porta, Bernardo’. In Dizionario Biografico degli Italiani Vol. 85 (2016), ed. Lorenzo Bianconi et al. http://www.treccani.it/enciclopedia/bernardo-porta_(Dizionario-Biografico)/
Dr. Annelies Andries