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Dr Clair Rowden

Overview

Clair Rowden Position: Senior Lecturer Email: RowdenCS@cardiff.ac.uk
Telephone: +44(0)29 208 70462
Fax: +44(0)29 208 74379
Extension: 70462
Location: 37 Corbett Road (Annexe), Room 1.15

Dr Rowden is a graduate of Goldsmith's College, University of London, and City University where she completed her PhD in 2002. She has previously lectured at City University, Rouen University and Royal Holloway, University of London.

Dr Rowden's research deals mainly with nineteenth-century opera and France, and her research activities range from music editing and archival study to microhistory and reception studies, and include operatic staging and dance, iconography and gender.

Clair is a member of the AHRC/IMR network ' Francophone Music Criticism 1789-1914' and is responsible for the preparation of on-line editions of various corpora of nineteenth-century French music criticism posted as part of the FMC's creation of a valuable web resource for researchers: http://music.sas.ac.uk/fmc. She is Book Placement Editor for H-France.

Clair is a founding member of CIRO (Cardiff Interdisciplinary Research in Opera) and works closely with Welsh National Opera to organise collaborative research and teaching events.  

In 2011, Dr Rowden was visiting fellow in music at both Université Jean Monnet, Saint-Etienne France and the Federal University of Bahia, Salvador, Brazil.

 

Publications

Forthcoming

Opera and Caricature in the French fin-de-siècle Press (forthcoming)

‘Mémorialisation, commémoration et commercialisation: Massenet et la caricature’, in Jean-Christophe Branger and Vincent Giroud (eds.), Massenet aujourd’hui : héritage et postérité (Saint-Etienne: Publications de l’Université de Saint-Etienne, forthcoming September 2014)

‘Loïe Fuller and Salomé: the unveiling of a myth’, in Hyunseon Lee and Naomi Segal (eds.), Opera,Exoticism and Visual Culture (Oxford, Bern, Berlin, Brussels, Frankfurt am Main, New York, Vienna: Peter Lang, forthcoming 2014)

‘“Cariculture” in 1890s Paris’, in Antonio Baldassare, Debra Pring and Pablo Sotuyo Blanco (eds.), Enhancing music iconography research: considering the current, setting new trends (Vienna: Hollitzer Wissenschaftsverlag)

Georges Bizet, Carmen, (London: Edition Peters), credited Editorial Assistant to Richard Langham Smith. (Material available for hire since 2000.)

 

Books

(ed.) Performing Salome, Revealing Stories, Ashgate Interdisciplinary Studies in Opera (Aldershot: Ashgate, 2013)

Republican Morality and Catholic Tradition at the Opera: Massenet's Hérodiade and Thaïs (Weinsberg: Musik-Edition Lucie Galland, 2004)

(ed.) Jules Massenet, Thaïs: Dossier de presse parisienne (1894) (Heilbronn: Musik-Edition Lucie Galland, 2000)


Book Chapters, Journal Articles and Published Papers


Thaïs: Adaptation, Degeneration and Intermediality’, Dix-Neuf, Vol. 18 No. 2, July 2014, 134–49  (special issue edited by Kate Griffiths (Cardiff University))

‘Whose/Who’s Salome? Natalia Trouhanowa, a dancing diva’, in Clair Rowden (ed.), Performing Salome, Revealing Stories, Ashgate Interdisciplinary Studies in Opera (Aldershot: Ashgate, 2013), 71–97

‘Memorialisation, Commemoration and Commodification: Massenet and Caricature’, Cambridge Opera Journal, 25/2 (2013), 139–63

‘Choral Music and Music-Making in France’, in Donna M. Di Grazia (ed.), Nineteenth-Century Choral Music (New York; London: Routledge, 2012), 205–12

‘Félicien David, Charles Gounod, and Jules Massenet’, in Donna M. Di Grazia (ed.), Nineteenth-Century Choral Music (New York; London: Routledge, 2012), 266–73

Salome and Modern Opera: a Parisian Perspective’, in Günter Brosche and Jürgen May (eds), Richard Strauss-Jahrbuch 2011, herausgegeben von der Internationalen Richard Strauss-Gesellschaft in Wien und dem Richard Strauss-Institut in Garmisch-Partenkirchen (Tutzing: Hans Schneider, 2011), 163–176

‘Loïe Fuller et Salomé : les drames mimés de Gabriel Pierné et de Florent Schmitt’, in Jean-Christophe Branger (ed.), Musique et chorégraphie en France de Léo Delibes à Florent Schmitt (Saint-Etienne: Publications de l’Université de Saint-Etienne, 2010), 215–259

‘Opera, Caricature and the Unconscious: Massenet’s Thaïs, a Case Study’, Music in Art:International Journal for Music Iconography, XXXIV/1–2 (2009), 274–289

‘Decentralisation and Regeneration at the Theatre des Arts, Rouen, 1889–1891’, Revue de Musicologie, 94/1 (2008), 139–80

Werther, La Navarraise and Verismo: A Matter of Taste’, Franco-British Studies:Journal of the British Institute in Paris, 37 (2007), 3–34

‘L’amour sacré et le sacre de l’amour: l’homme saint chez Massenet’, in Jean-Christophe Branger and Alban Ramaut (eds), Opéra et religion sous la IIIe République (Saint-Etienne: Publications de l’Université de Saint-Etienne, 2006), 257–84

‘Paris – Londres: La Navarraise face à la presse’, in Jean-Christophe Branger and Alban Ramaut (eds), Le Naturalisme sur la scène lyrique (Saint-Etienne: Publications de l’Université de Saint-Etienne, 2004), 106–28

Hérodiade: Church, State and the Feminist Movement’, in Jim Samson and Bennett Zon (eds), Nineteenth-Century Music: Selected Proceedings of the Tenth International Conference (London: Ashgate, 2002), 250–78

Editions

Georges Bizet, Carmen, (London: Edition Peters, 2014)
Credited Editorial Assistant to Richard Langham Smith. Material available for hire since 2000.

Responsible for online edition (2013–) of ‘Salome’ for AHRC web-resource Francophone Music Criticism, 1789-1914. FMC Collection 19, access via: http://music.sas.ac.uk/fmc

Responsible for online edition of ‘Complete Criticism of Joseph d’Ortigue’, phase 4 (2010), for AHRC web-resource Francophone Music Criticism, 1789-1914. FMC Collection 6, access via: http://music.sas.ac.uk/fmc

Responsible for online edition (2008) of ‘Massenet, La Navarraise, Paris premiere. Dossier de presse’ for AHRC web-resource Francophone Music Criticism, 1789-1914. FMC Collection 2, access via: http://music.sas.ac.uk/fmc

Responsible for online edition (2008) of ‘Mascagni, Cavalleria rusticana, Paris premiere. Dossier de presse’ for AHRC web-resource Francophone Music Criticism, 1789-1914. FMC Collection 3, access via: http://music.sas.ac.uk/fmc

Programme Notes


‘Wilde’s Salomé: a very modern French affair’, Wexford Festival Opera 2014 Season programme, October 2014

‘La Réception des Pêcheurs de Perles’, Les Pêcheurs de Perles programme,  Opéra Comique, Paris, June 2012, 71–6

‘The End of the Fairytale’, Cendrillon programme, Royal Opera House, Covent Garden, London, June 2011, 12–19

Les Pêcheurs and the Parisian Press’, Les Pêcheurs de Perles programme, Royal Opera House, Covent Garden, London, October 2010, 27–34

‘A Source of Lyricism’, Roméo et Juliette programme, Royal Opera House, Covent Garden, London, October 2010, 32–6

‘Sentiment and Reminiscence’, Manon programme,  Royal Opera House, Covent Garden, London, September 2010, 25–31

‘Massenet and the Manon score’, Manon programme for the Royal Ballet, Royal Opera House, Covent Garden, London, October 2008, 19–24

‘Cinderella Takes a Roman Holiday’, La Cenerentola  programme, Royal Opera House, Covent Garden, London, December 2007, 9–12

‘Massenet and Thaïs: The Religious Context’, Thaïs programme, Royal Opera House, Covent Garden, London, June 2007, 29–33

‘« The island’s full of noises, sounds and voices »: l’écriture vocale de Thomas Adès’, in L’Avant-Scène Opéra : Thomas Adès The Tempest, 222, September/October 2004, 80–3

Werther at Home and Abroad’, Werther programme, Royal Opera House, Covent Garden, London,, September 2004, 43–8

‘Explosive Opera: La Navarraise face à la critique londonienne’, in L’Avant-Scène Opéra : Massenet Sapho - La Navarraise, 217, November/December 2003, 80–1



Book Reviews

Review of La dramaturgie de Gustave Charpentier (Speculum Musicae), by Michela Niccolai, Music & Letters (forthcoming)

Review of Camille Saint-Saëns and His World, ed. by Jann Pasler, H-France Review, 13/140 (2013), 1–7

Review of Music, Theater, and Cultural Transfer: Paris 1830-1914, ed. by Annegret Fauser and Mark Everist, H-France Review (2011)

Review of Léo Delibes – Lakmé – Dossier de presse parisienne (1883), ed. by Pauline Girard, Music & Letters (2011)

Review of Verdi and the French Aesthetic: 2010 Verse, Stanza, and Melody in Nineteenth-Century Opera, by Andreas Giger, Nineteenth-Century Music Review (2010)

Review of An Introduction to the Dramatic Work of Giacomo Meyerbeer : Operas, Ballets, Cantats, Plays, by Robert Ignatius Letellier, Music & Letters (2010)

Review of The Puccini Problem: Opera, Nationalism and Modernity, by Alexandra Wilson, Twentieth-Century Music (2009)

Review of French Music Since Berlioz, ed. by Richard Langham Smith and Caroline Potter, Musicology Australia (2008)

Review of Berlioz and Debussy: Sources, Contexts and Legacies. Essays in Honour of François Lesure, ed. by Barbara L. Kelly and Kerry Murphy, Musicology Australia (2008)

Review of The Cambridge Companion to Grand Opera, ed. by David Charlton, Nineteenth-Century Music Review, 2/2 (2006), 122–25

Review of The Music of Berlioz, by Julian Rushton, Nineteenth-Century Music Review, 1/2 (2004), 112–15

Review of Meyerbeer in Italy, Opera Rara, CD ORR222, Nineteenth-Century Music Review, 1/2 (2004), 139–41

Review of Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848, ed. by Roger Parker and Mary Ann Smart, Music & Letters, 84/2 (2003), 300–02


Research

Clair Rowden's current research includes a book on opera and parody in France during the second half of the nineteenth century, as well as the preparation of a co-edited volume (with Dr Alexandra Wilson) Transforming Opera, drawn from papers given at the international conference in Cardiff in 2012 in collaboration with Welsh National Opera and the Royal Musical Association, entitled 'Love to Death: Transforming Opera'.

Clair is currently co-organising the international symposium ‘Translation in Music’ (29-30 May 2014) in collaboration with colleagues in the School of European languages, Translation and Politics and Welsh National Opera.

Research Papers, Public Lectures and Performances

Recent

‘Parodying Tannhäuser on the Parisian popular stage, 1861’, International Symposium ‘Traces of Performance: Opera, Music Theatre, and Theatre Music in the Long 19th Century’, Sibelius Academy (University of the Arts Helsinki), December 2013. ‘Salome/Trouhanowa: Her Multiple Dances of Death’, Symposium ‘Stages of Death: Men, Women and Suffering in Opera and Ballet’, part of ‘Before I die: A festival for the living about dying’, Cardiff University, May 2013.

‘Immortalité de Massenet à travers la caricature ?’, ‘
Massenet aujourd’hui : héritage et postérité’, Opéra-Théâtre and Université Jean Monnet, Saint-Etienne, France. Invited speaker, October 2012.

‘Massenet et l’Orient : l’exotisme religieux’, ‘Exotisme et Art lyrique’, Festival Les Pêcheurs de Perles, Opéra-Comique, Paris. Invited speaker, June 2012.

Jules Massenet: pour l’amour de l’opéra’, Célébration Jules Massenet, Bibliothèque nationale de France, Paris, January 2012.

‘“Cariculture” in the 1890s’, OBERTO, ‘Beyond Press Cuttings: New Approaches to Reception in Opera Studies’, Oxford Brookes University, Oxford, September 2011.

‘“Cariculture” in the 1890s’, 13th International RIdIM Conference & 1° Congresso Brasileiro de Iconografia Musical, ‘Enhancing Music Iconography research: considering the current, setting new trends’, Universidade Federal da Bahia, Salvador, Brazil, July 2011.

‘“Cariculture” in the 1890s’, AHRC/IMR ‘Francophone Music Criticism, 1789-1914’, International network meeting, University of London Institute in Paris, June 2011.

'Salome, modern opera and dance: a Parisian perspective’, Escuela Nacional de Música, Universidad Nacional Autónoma de México, February 2011.

Salome, modern opera and dance: a Parisian perspective’, Sixteenth International Conference on Nineteenth-Century Music, University of Southampton, July 2010.

Salome versus Salomé: The Reception of Strauss’s and Mariotte’s Operas’, AHRC/IMR Francophone Music Criticism 1789-1914, International network meeting, McGill University, Montréal, Canada (November 2009).

‘The German Salome versus the French Salomé: The Reception of Strauss’s and Mariotte’s Operas in Paris, 1907-1910’, ‘The Politics of Opera’, Oxford University European Humanities Research Centre, Taylorian Institution, St. Giles’ (October 2009).

‘The German Salome versus the French Salomé: The Reception of Strauss’s and Mariotte’s Operas in Paris, 1907-1910’, ‘Richard Strauss im europäischen Kontext’, Richard-Strauss-Institut, Garmisch-Partenkirchen, Germany. Invited speaker (September 2009).

‘Loïe Fuller and Salomé: the unveiling of a myth’, John Bird Seminar, Cardiff University (November 2008).

'Loïe Fuller and Salomé: The Unveiling of a Myth', Cardiff University, 11 November 2008, and at the IGRS/IMR conference 'Opera, Exoticism and Visual Cuture: The Fin de Siècle and its legacy', London, 25-27 September 2008

'Loïe Fuller and Salomé: ballets by Gabriel Pierné (1895) and Florent Schmitt (1907)', Université Jean Monnet, St-Etienne, 13 June 2008

'Opera and Caricature in the French fin-de siecle press: Massenet's Thaïs, a case study', for 'Music, Body, Stage: The Iconography of Music Theatre and Opera', conference organised jointly by the Research Centre for Music Iconography and Repertoire International d'Iconographie Musicale, CUNY, 11-14 March 2008

'Decentralisation and Colonisation at the Théâtre des Arts, Rouen, 1889-1891', 14th International Conference on Nineteenth-Century Music, Manchester University, 2006

'L'amour sacré et le sacre de l'amour: l'homme saint chez Massenet', Colloque Massenet, Saint-Etienne, France, 2005

'Pamplune - Paris - Londres: La Navarraise face à la presse', Colloque Massenet, Saint-Etienne, France, 2003