I hold one Masters in Music from the École Normale Supérieure (Lyon) and one in Philosophy from the Sorbonne. In parallel to my music teaching, I am also a Lecturer in French and I work as Head of Development for the Canterbury Institute, Oxford.
At Oriel, I teach the following papers: Foundations in the Study of Music, Musical Thought and Scholarship, Historically Informed Performance, Music and Nationalisms, The String Quartet Between Classicism & Modernism, 18th Century Opera.
My work scrutinises opera performers and their roles through the prism of legal frameworks, thus demonstrating how administrative law fundamentally influenced and guided artistic creativity during the seventeenth and eighteenth centuries.
“Regulating Singers’ Pensions at the Opéra Royal Arbitrage and Administrative Law”, in L’Académie royale de musique: fabrique d’opéra et entreprise de spectacle en France aux XVIIe et XVIIIe siècles, edited by Barbara Nestola, Julien Dubruque, Thomas Leconte, and Benoit Dratwicki. Brepols, 2022.
“États and the Legal Framework of Casting Singers at the Académie Royale de Musique During the Ancien Régime”, in Proceedings of the KVNM-RMA 2021 Conference. 2022.
Literature review of L’air italien sur la scène des theatres parisiens (1687-1715) (Nestola, Brepols, 2020), in Revue de Musicologie, t. 207, no. 2 (2022).
Literature review of Coquettes, Wifes, and Widows. Gender Politics in French Baroque Opera and Theatre (Ray, Boydell and Brewer, 2020), in Revue de Musicologie, t. 207, no. 1 (2021).
“A Breach in the Mind”, Athwart (2020).
“Une voix ramiste incarnée à l’épreuve des sources: Marie Fel ou l’héritage renouvelé du jeu lyrique à l’époque ramiste”, in Filigrane. Musique, esthétique, sciences, société (2018).