After receiving a B.A. in vocal performance from the Royal Conservatory in her native city Antwerp (Belgium), Annelies Andries studied musicology at the Catholic University of Leuven and the Humboldt University in Berlin. She completed her PhD at Yale University with a dissertation on the operatic culture in Paris during Napoleon I’s reign. In addition to her music studies, she worked as an assistant dramaturge at Opera Flanders (2010-2011) and she continues to engage with the performance world as a freelance writer of program notes. Annelies Andries joined Magdalen College as a Prize Fellow in Music in October 2018.
Annelies Andries will teach a Master’s Elective Course on music and war during Hillary Term 2019 at the Oxford Music Faculty. At Yale, she taught various musicianship courses as well as the team-taught undergraduate seminar ‘Women on Stage: Baroque to Beyoncé’, and served as a teaching assistant for several music history surveys.
Annelies Andries’s major research interests are opera and other music theatre genres in the long nineteenth century (1789-1914), staging and performance practice, politics and militarism, and gender studies.
Her current research project focuses on the use of military music in theatre in France, Britain, and Prussia from the French Revolution to the Franco-Prussian War (1789-1871), interrogating the contributions of such theatre music to the nineteenth-century cult of militarism in its connections with nationalism, hero worship, and trauma. She is also transforming her dissertation into a book, provisionally titled ‘Sorting out History: Spectacle at the Opéra in Napoleon’s Paris.’
‘Uniting Present and Past: Staging Ossian in the Napoleonic Era’, in Nineteenth-Century Music Review. Under Review
‘Review of Olivia Bloechl, Opera and the Political Imaginary’, in Eighteenth-Century music. Forthcoming.
‘Digital Resource Review: Opera Ballet Primary Sources,” in Nineteenth-Century Music Review15/2 (2018), 309-321.
‘Looking at and Listening to “The Land Without Music”’, in Criticks, British Society of Eighteenth-Century Studies Online Reviews, ed. Emrys Jones. https://www.bsecs.org.uk/criticks-reviews/looking-at-and-listening-to-the-land-without-music/
Annelies Andries and Katherine Hambridge. ‘Music, Women, and the Allure of Napoleon’. InThe Allure of Napoleon: Essays Inspired by the Collections of The Bowes Museum, ed. Thomas Stammers, 19-22. (The Bowes Museum, Barnard Castle: 2017).
‘Porta, Bernardo’. In Dizionario Biografico degli Italiani, ed. Lorenzo Bianconi et al. http://www.treccani.it/enciclopedia/bernardo-porta_(Dizionario-Biografico)/
Selected Program Book Contributions
‘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).
‘Macht en Identiteit in Simon Boccanegra’ (‘Power and Identity in Simon Boccanegra’). In Verdi’s ‘Simone Boccanegra’, ed. Luc Joosten, 26-33. (Merelbeke, Belgium: Stevens Print, 2017).
‘Van Magisch Spektakel to Intens Drama’ (‘From Magical Spectacle to Intense Drama’). Program Text for Heksentoeren, Concertgebouw Bruges (Belgium).
‘Odysseus in Venetië’ (‘Odysseus in Venice’). In Monteverdi’s ‘Il ritorno d’Ulisse’, eds. Annelies Andries and Piet de Volder, 24-6. (Gent: Sintjoris, 2011).
‘Waar schoonheid strijdt met drama’ (‘Where Beauty Clashes with Drama’). In Giacomo Rossini, ‘Semiramide’,eds. Annelies Andries and Luc Joosten, 36-8. (Gent: Sintjoris, 2010).