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The angel's cry: beyond the pleasure principle in opera
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  • 2015Between silence and pain: loudness and the affective encounter148 cited
  • 2010When Opera Meets Film81 cited
  • 2009Synthesizing Race: Towards an Analysis of the Performativity of Vocal Timbre73 cited
  • 1994Discourse and the film text: Four readings ofCarmen51 cited
  • 2015Why Voice Now?41 cited
  • 1999‘The phantom of the Opera’: the lost voice of opera in silent film39 cited
  • 2020Music and the Sonorous Sublime in European Culture, 1680–188026 cited
  • 1999Death drive: Eros and Thanatos in Wagner'sTristan und Isolde26 cited
  • 2017Maria Callas’s Waistline and the Organology of Voice23 cited
  • 2015Visual Media19 cited
  • 1997Opera, Dispossession, and the Sublime: The Case of Armide18 cited
  • 2012‘Too much music’: the media of opera16 cited
  • 2001The Force of Callas’ Kiss: The 1997 Apple Advertising Campaign, “Think Different”15 cited
  • 1997Elsa screams, or The birth of music drama15 cited
  • 2013The Voice and Early Modern Historiography: Reading Johannes Kepler's Harmony of the World14 cited

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  • 2012The operatic event: opera houses and opera audiences13 cited