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College of Arts, Humanities & Social Sciences

Lamont School of Music

Newman Center for the Performing Arts


Antonia L. Banducci, PhD

Antonia Banducci

Associate Professor, Musicology

Newman Center for the Performing Arts, Room 319
[email protected]

Antonia L. Banducci specializes in French Baroque opera. A Fulbright Scholar, her dissertation, Tancrède by Antoine Danchet and André Campra: Performance History and Reception (1702-1764)," (Washington University, St. Louis, 1990) received the National Opera Association's First Biennial Award for Best Dissertation on an Operatic Topic. She has presented papers at both national and international musicology meetings and recently completed a three-year term as Secretary of the Society for Seventeenth-Century Music. Her articles have appeared in Early Music, Eighteenth-Century Music and the Journal of Seventeenth-Century Music.


"Acteurs and Actrices as Muses: The Case for Jean-Baptiste Lully's Repertory Troupe" (1673-86). Journal of Seventeenth-Century Music, 21, no. 1 No. 1. 

"Staging and Its Dramatic Effect in French Baroque Opera: Evidence from Prompt Notes." Reprinted in Opera Remade, 1700-1750. Charles Dill, ed., 317-340. The Ashgate Library of Essays in Opera Studies. Burlington, VT: Ashgate Publishing Co., 2010.

"Du jeu scénique et de son effet dramatique : l'apport des didascalies manuscrites scéniques dans les livrets et partitions" ("Staging and its Dramatic Effect: The Contribution of Manuscript Prompt Notes in Librettos and Scores"), trans. Jaqueline Waeber. In Musique et Geste en France de Lully à la Révolution: Études sur la musique, le théâtre et la danse, Jacqueline Waeber, ed., 115-128. Bern: Peter Lang, 2009.

"Lully Opera Highlighted at 2007 Boston Early Music Festival," 17th-Century Music (Society for Seventeenth-Century Music newsletter) 17/1 (2007): 12, 14 (co-authored with Rebecca Harris-Warrick).

Editor. André Campra, Tancrède, tragédie en musique (facsimile edition with introduction and appendices). French Opera in the 17th and 18th Centuries. Vol. 18. Stuyvesant, NY: Pendragon Press, 2006.

"The Opera Atelier Performance (Toronto, 2000): The Spirit of Lully on the Modern Stage" (Review-Essay). The Journal of Seventeenth-Century Music 10, no. 1.

"Staging and Its Dramatic Effect in French Baroque Opera: Evidence from Prompt Notes." Eighteenth-Century Music 1 (2004): 5-28.

"Staging a tragédie en musique: A 1748 promptbook of Campra's Tancrède." Early Music 21 (1993): 180-190.

Recent refereed papers and invited lectures:

"An Opera Troupe's Power in the Invention of a Genre: Jean-Baptiste Lully's Académie Royale de Musique." International Conference: Music and Power in the Baroque Era. Lucca, Italy. November 2016.

"Louis Dumesnil: Lully's Problematic Hero," invited lecture at Early Modern Music Investigations: A Colloquium in Honor of Craig A. Monson, Paul Tietjens Professor of Music in Arts & Sciences, Washington University, St. Louis. March 2015. Paper also given at the Annual Meeting of the Society for Seventeenth-Century Music, Columbus, Ohio in April 2013, and at the 19th Congress of the International Musicological Society, Rome, Italy, July 2012.

"Actrices et acteurs comme muses chez Lully et Campra" [Actresses and actors as Lully's and as Campra's muses ]. Université Paris-Sorbonne under the auspices of the Recherche en Musicologie, Séminaire post-doctoral du GRIMAS [Groupe de recherché interdisciplinaire sur la musique et les arts de la scène / An interdisciplinary research group on music and the scenic arts], Paris, May 2014.

"How Do You Solve a Problem Like Lully's Amadis?" American Musicological Society annual meeting. Pittsburg, Pennsylvania, November 2013.

Recent Courses:

Seminars: Baroque Opera on Stage; History of Opera: From Monteverdi to Minimalism; Topics in Modern Opera; The Making of Romantic Music: Paris and Leipzig in the 1830s; Topics in Baroque Music with an Emphasis on Performance Practice; Undergraduate courses: Medieval and Renaissance periods; Baroque period; Classical period.