Dr Annelies AndriesBack to People

Department: Music
College appointment: Prize Fellow in Music


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 with a dissertation on operatic culture in Paris during Napoleon I’s reign (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. Annelies joined Magdalen College as a Prize Fellow in Music in October 2018.


Annelies is a tutor at Magdalen College for the undergraduate course ‘Musical Thought and Scholarship’. She taught a Master’s Elective Course on music, theatre and war at the Music Faculty (Hillary 2019), and this academic year, she will teach the Master’s Elective ‘“Diva”: Female Singers in the Last Century’. At Yale, she taught musicianship courses and the team-taught undergraduate seminar ‘Women on Stage: Baroque to Beyoncé’, and served as a teaching assistant for several music history surveys.

Research Interests

Annelies’s major research interests are opera and other music theatre genres in the long nineteenth century (1789-1914); staging and performance practice; politics, militarism and war; and gender studies.

In her current 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). She is also transforming her dissertation into a book, provisionally titled ‘Staging History for the Future: The Opéra in Napoleon’s Paris’.


Academic Publications

  • Andries, A. ‘Past and Present United through the Arts: Staging the Nation in Le Sueur’s Ossian (1804)’, in Cambridge Opera Journal (Under Review).
  • Andries A. ‘Review of Dennis Roth, Krieg in der Oper’, in Die Tonkunst: Magazin für klassische Musik und Musikwissenschaft 13 (October 2019).
  • Andries A. ‘Review of Olivia Bloechl, Opera and the Political Imaginary’, in Eighteenth-Century Music 16 (September 2019), 56-58.
  • Andries A. ‘Review of R.J. Arnold, Grétry’s Operas and the French Public: From the Old Regime to the Restoration’, in H-France Review 19 (August 2019).
  • Andries A. ‘Digital Resource Review: Opera Ballet Primary Sources’, in Nineteenth-Century Music Review 15/2 (2018), 309-321.
  • Andries A. ‘Looking at and Listening to “The Land Without Music”’, in Criticks, British Society of Eighteenth-Century Studies Online Reviews (April 2017), ed. Emrys Jones. https://www.bsecs.org.uk/criticks-reviews/looking-at-and-listening-to-the-land-without-music/
  • 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)/

 Selected Programme Book Contributions

  • 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. ‘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).
  • Andries A. ‘Van Magisch Spektakel to Intens Drama’ (‘From Magical Spectacle to Intense Drama’). Program Text for Heksentoeren, Concertgebouw Bruges (Belgium).
  • Andries A. ‘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).
  • Andries A. ‘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).