Specializations: History and theory of opera (particularly of the nineteenth century), with a special focus on staging, technology, and mediality; music and media archaeology; reception studies; music historiography; music and politics; music in the Third Reich; German and European cultural history of the “long” nineteenth and early twentieth centuries; Verdi; Wagner; Hindemith.
About: Gundula Kreuzer studied musicology, philosophy, and modern history at the Universities of Münster (Westphalia) and Oxford, where she earned her Master of Studies and D.Phil. in musicology. She held a Junior Research (postdoctoral) Fellowship at Merton College, Oxford, before joining the Yale Department of Music in 2005.
In both her writing and her teaching, Kreuzer approaches music from a wide range of interdisciplinary perspectives, such as social, cultural, and political history as well as theories of technology and multimedia. Her award-winning first book, Verdi and the Germans: From Unification to the Third Reich (Cambridge University Press, 2010), examines the changing impact of the popular Italian composer on German musical self-perception and national identity. In spring 2018, her second monograph, Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera, was published by the University of California Press. Merging theoretical and historical approaches to opera’s multimedia nature, the book examines how composers since the late 18th century increasingly tried to control certain aspects of staging by embracing specific stage technologies. Focusing on the cultural resonances and hermeneutic potentials of the titular technologies of the curtain, the tam-tam, and steam before, in, and beyond Wagner, the book ultimately develops a wider perspective on the nature and ephemerality of staged opera as well as the legacies of nineteenth-century efforts to “fix” productions in contemporary culture.
In other recent work Kreuzer has addressed the situation of opera in the digital age, challenged the centrality of the “Beethoven paradigm” in Germanic music historiography, and addressed the much-debated phenomenon of Regietheater. Together with Clemens Risi, she guest-edited a double issue of The Opera Quarterly (“Opera in Transition”; vol. 23/2-3, 2011), and she contributed to such encyclopedias as the Verdi-Handbuch (2001, rev. 2013), Wagner-Handbuch (2012), and the Cambridge Encyclopedias of Verdi and Wagner (2013). Her critical edition of Verdi’s instrumental chamber music for The Works of Giuseppe Verdi: Series V appeared with The University of Chicago Press and Ricordi in 2010. She also gained experience as a freelance radio presenter in Germany and has recently contributed to broadcasts on WNYC and the BBC. From 2006 to 2010 she was Reviews Editor of The Opera Quarterly, and she currently serves on the editorial board of the Journal of the American Musicological Society.
At Yale, Kreuzer’s undergraduate courses include Introduction to the History of Western Music, 1800 to the Present; various introductions to the history and theory of opera; Listening in Paris; Performance: History and Theory; Verdi, Wagner, and Britten in 2013; Women on Stage. On the graduate level, her seminar topics include Reception Theory; Music in Nazi Germany; Opera and/as Multimedia; Wagner in and on Production; and Verdi at 200. She has also been teaching the Prospectus Seminar and Dissertation Colloquium and serving as Director of Graduate Studies (2010-11 and since 2013).
Kreuzer’s first monograph won the 2011 Lewis Lockwood Award of the American Musicological Society, the 2012 Gaddis Smith International Book Prize of the MacMillan Center for International and Area Studies at Yale, and the inaugural Martin Chusid Award for Verdi Studies in 2013. Among other grants and awards, Kreuzer has received the Paul A. Pisk Prize (2000) and the Alfred Einstein Award (2006) from the American Musicological Society as well as the Jerome Roche Prize (2006) from the Royal Musical Association. At Yale, she was awarded the Samuel and Ronnie Heyman Prize for Outstanding Scholarly Publication in 2010, was a Fellow at the Whitney Humanities Center in 2010-11, and has been a Senior Research Fellow in International and Area Studies at the Macmillan Center since 2012.
“Kittler’s Wagner and Beyond,” Contribution to the Colloquy “Discrete/Continuous: Music and Media Theory after Kittler,” ed. Alexander Rehding, in Journal of the American Musicological Society 70/1 (2017), 228-33.
“Compromising Wagnerism? Egk, ‘Dein Hähnchen bin ich’ (Peer Gynt), Peer Gynt (1938), Act II,” Cambridge Opera Journal 28 (2016), 255-61.
“Venus als Wagner,” in Tannhäuser - Werkstatt der Gefühle, eds. Clemens Risi et al. (Freiburg: Rombach, 2014), 159-76.
“Heilige Trias, Stildualismus, Beethoven: Limits of Nineteenth-Century Germanic Music Historiography,” in The Age of Rossini and Beethoven, eds. Nicholas Mathew and Benjamin Walton (Cambridge: Cambridge University Press, 2013), 66-95.
“Wagnerdampf: Steam in Der Ring des Nibelungen and Operatic Production,” The Opera Quarterly 27/2-3 (Spring-Summer 2011), 179-218.
“Dahlhaus, Rossini und die Oper des 19. Jahrhundert,” in Carl Dahlhaus und die Musikwissenschaft: Werk, Wirkung, Aktualität, eds. Hermann Danuser and Tobias Plebuch (Schliengen: Edition Argus, 2011), 132-41.
Verdi and the Germans: From Unification to the Third Reich (Cambridge: Cambridge University Press, 2010; series New Perspectives in Music History and Criticism).
The Works of Giuseppe Verdi, Series V: Instrumental Chamber Music, ed. Gundula Kreuzer (string quartet in E minor; Romance sans paroles, album leaf for Florimo; Valzer) (Chicago and Milan: The University of Chicago Press and Ricordi, 2010).
“Authentizität, Visualisierung, Bewahrung: Das reisende ‘Wagner-Theater’ und die Konservierbarkeit von Inszenierungen,” inAngst vor der Zerstörung. Der Meister Künste zwischen Archiv und Erneuerung, eds. Robert Sollich, Clemens Risi, Sebastian Reus and Stephan Jöris (Berlin: Theater der Zeit, 2008), 139-60 (Recherchen 52).
“Voices from Beyond: Don Carlos and Modern Regie,” Cambridge Opera Journal 18 (2006), 151-79.
“Deception on Stage: Don Carlos di Vargas and Franz Werfel’s Politics of Operatic Translation,” Music, Theatre and Politics in Germany, 1850-1950, ed. Nikolaus Bacht (Aldershot: Ashgate, 2006), 137-57.
“Oper im Kirchengewande? Verdi’s Requiem and the Anxieties of the Young German Empire,” Journal of the American Musicological Society 58/2 (Summer 2005), 399-449.
“Zurück zu Verdi: the ‘Verdi Renaissance’ and Musical Culture in the Weimar Republic,” Studi verdiani 13 (1998), 117-154.