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’. At the Oxford Music Faculty, she taught master’s courses on music, theatre and war in nineteenth-century Europe (Hillary 2019), on the ‘“Diva”: Female Singers in the Last Century’ (Hillary 2020). At present, she is also teaching BA courses in music analysis and in music history at Utrecht University. 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.
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) and a guest-edited journal issue with selected papers will come out for the Journal of War & Culture Studies in May 2021. She is also preparing a book manuscript, provisionally titled ‘Performing Transhistoricity at the Opéra, 1799–1815’.
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. ‘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. 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)/
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).