Meet the Faculty

Micaela K. Baranello

Micaela K. Baranello

Musicology

J. William Fulbright College of Arts & Sciences

(MUSC)-Music

Phone: 479-575-4701

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My name is Micaela Baranello. In August 2017 I will begin a tenure-track position as assistant professor of musicology at the University of Arkansas in Fayetteville. Currently, I am McPherson/Eveillard Postdoctoral Fellow in Musicology at Smith College and I spent the 2014-15 academic year at Swarthmore College as Visiting Assistant Professor of Music. In June 2014 I received a PhD in musicology from Princeton University. My book-in-progress, The Operetta Empire, examines Viennese operetta and identity from 1900 to 1930; my research interests also include Richard Strauss, opera staging, Wagner, and Baroque opera. I am an occasional contributor to The New York Times‘s Sunday Arts & Leisure section, I also write a blog, and I have worked as a stage manager.

Ph.D. Princeton University

M.A. Princeton University

B.A. Swarthmore College

“Operettendämmerung: The Failures of Wagnerian Operetta,” Opera Quarterly, operetta theme issue (forthcoming)

“Late Nineteenth-Century Opera and the Curse of the Effective,” review article, Cambridge Opera Journal 28:3 (November 2016)

“The Swallow and the Lark: La rondine and Viennese Operetta,” in edited collection Puccini and His World (Princeton University Press Bard Music Festival series, 2016)

“Viennese Blood: Immigration and Emigration in Viennese Operetta,” chapter in Watersheds: Poetics and Politics of the Danube River (Academic Studies Press, 2016)

“Operetta,” article in Oxford Bibliographies Online (2015)

Arabella, Operetta, and the Triumph of Gemütlichkeit,” Opera Quarterly 31, no. 4 (Fall 2015, Richard Strauss theme issue)

Die lustige Witwe and the Birth of Silver Age Operetta,” Cambridge Opera Journal 26.2 (summer 2014)

“Operetta Canon Formation and the Journey to Prestige,” Oxford Handbook of the Operatic Canon (under contract, Oxford University Press)

“Singing Love and Dancing War: The Ballo in Il ritorno d’Ulisse in patria” chapter in collection Performing Homer, ed. Wendy Heller and Eleanora Stoppino (under contract)

Essays, Features, and Reviews (selected)

“In Europe, Opera Takes on Our Time,” (essay on productions by Krzysztof Warlikowski, Simon McBurney, Dmitri Tcherniakov, and Andreas Homoki) The New York Times, July 21, 2017

“Limits of Perspective” (feature on Andreas Homoki and Das Land des Lächelns at the Opernhaus Zürich), VAN Magazine, July 20, 2017

“A ‘Rake’s Progress’ for a Fame-Hungry Internet Age,” The New York Times, July 9, 2017

“‘Carmen,’ Boldly Rewritten as Therapy for a Modern Man,” The New York Times, July 5, 2017

“Taking on Tristan,” The New York Times, September 25, 2016

“Bayreuth Festival, The House That Wagner Built, Stays on Course but Changes,” The New York Times, Arts & Leisure (August 12, 2015); The International New York Times(August 14, 2015)

“When Cries of Rape are Heard in Opera Halls,” The New York Times, Arts & Leisure (July 19, 2015); The International New York Times (July 18, 2015)

“Puccini’s Crossover Dalliance,” The New York Times, Arts & Leisure (January 6, 2013); The International Herald Tribune (January 8, 2013)

Scholarly Reviews

Review of David Brodbeck, Defining DeutschtumNineteenth-Century Music Review 13:2 (December 2016)

Review of Evan Baker, From the Score to the Stage, Notes (Journal of the Music Library Association) 71:4 (June 2015)

Review-essay on operetta films Die Dollarprinzessin, Zigeunerliebe, and Die ZirkusprinzessinNotes 69:3 (March 2013)

Production review of Salome, Salzburger Osterfestspiele, Opera Quarterly 27:2-3 (spring-summer 2011)

Review of Rienzi video, Notes 69:1 (September 2012)

Review of The Walter Felsenstein CollectionNotes 66:3 (March 2011)

Program Notes
Bard Music Festival, Berg and His World and Puccini and His World

Princeton University Orchestra (2009-12)

Miscellaneous
Classical Music Consultant, Time Out Vienna (2011)

Contributor, Best Music Writing 2011, edited by Alex Ross, Da Capo Press (2011)

Press

I have been quoted or my work has been been cited in the following non-academic articles:

Zachary Woolfe, “In Lulu, the Question That Stops an Opera,” The New York Times, October 29, 2015

David Allen, “Met Opera’s Turandot Reveals Layers of Humanity,” September 24, 2015

Zachary Woolfe, “Susan Stroman Brings a Broadway Heart to the Met for ‘The Merry Widow,’” The New York Times, December 25, 2014

Alex Ross, “Mastersinger,” The New Yorker, October 7, 2013

Patrick Bahners, “Mit dieser Stund vorbei: Abschied von der ältesten Inszenierung im Repertoire der Met.” Frankfurter Allgemeine Zeitung, December 30, 2013

Jaime Weinman, “Wagner’s epic Ring,” Macleans, May 16, 2012