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Cited by

• 2016Carmen, Communarde Bizet, ‘Habanera’ (Carmen),Carmen, Act I50 cited
• 2018Female Singers on the French Stage, 1830–184831 cited
• 2014Between cosmopolitanism and nationhood: Italian opera in the early nineteenth century28 cited
• 2015Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France24 cited
• 2014Future History: Wagner, Offenbach, and "la musique de l'avenir" in Paris, 186020 cited
• 2013Parody of Greco-Roman Myth in Offenbach’s Orfée aux enfers and La belle Hélène19 cited
• 2013Introduction: music, the city and the modern experience19 cited
• 2019The Parrys andPrometheus Unbound14 cited
• 2014The Music of Power:12 cited
• 2019Re-Mapping Centre and Periphery10 cited
• 2024Brand museums, commodification of cultural heritage and cultural transfer: The case of IKEA museum9 cited
• 2010Classic staging: Pauline Viardot and the 1859Orphéerevival9 cited
• 2015The Operas of Maurice Ravel7 cited
• 2010Unintended consequences: Theatre deregulation and opera in France, 1864–18786 cited
• 2010“Dixie Carmen ”: War, Race, and Identity in Oscar Hammerstein's Carmen Jones (1943)