Barbara Nestola

The objective of this research is the study of the concrete performance conditions of Roman works of the end of the 17th century in order to identify their possible influence on the forthcoming reform of opera seria at the beginning of the 18th Century. In this regard, both Roman creations and reprises of Venetian and Neapolitan works will be considered. Through cross-comparison of libretti, scores, archival evidence and archive documents, we shall seek to elucidate the specific nature of Roman aesthetics in comparison with other musical centres.

Barbara Nestola obtained a Phd in Musicology at the University of Tours, following a degree in modern humanities (with a specialisation in music and history) at the University of Pisa and a piano diploma from Lucca Conservatoire. In 2000-2001 she was a research assistant at the University of Pisa. Since 2001 she is Ingénieur d’études at the Centre National de la Recherche Scientifique (CNRS) and is part of the research team of the Centre d’Études Supérieures de la Renaissance/Centre de musique baroque de Versailles. She is a member of “Cavalli and 17th-century Venetian Opera”, a research group of the International Society of Musicology overseeing the edition of the works of Francesco Cavalli for Bärenreiter under the direction of Ellen Rosand (Yale).

In 2016 she joined the PerformArt (ERC) project co-ordinated by Anne-Madeleine Goulet. Her works are dedicated to the reception of Italian music in France, musical practice at the Comédie Italienne and the Comédie Française, as well as the repertoire of the Académie Royale de Musique in Paris. She regularly collaborates with professional performers in concerts, recitals, opera productions and audiovisual recordings.


“Musica e stile francese nell’opera italiana a Venezia, Roma e Napoli (1680-1715)”, Analecta Musicologica 52 (2015), pp. 530-549.

Francesco Cavalli, Jean-Baptiste Lully, “Il Xerse” (1660), Kassel, Bärenreiter, 2015 (materiale d’orchestra), coedizione della partitura con Michael Klaper, libretto a cura di Sara Elisa Stangalino.

Ipse dixit : contexte de parution et influence de L’Opéra italien en Italie avant Lulli”, Henry Prunières (1886-1942), un musicologue engagé dans la vie musicale de l’entre-deux-guerres, a cura di Myriam Chimènes, Florence Gétreau e Catherine Massip, Société française de musicologie, (2015), pp. 159-174.

“Cavalli’s Ercole amante, the first tragédie en musique?”, Readying Cavalli’s Operas for the Stage. Manuscript, Edition, Production, a cura di Ellen Rosand, Ashgate (2013), pp. 353-373.

“Italian Music, French Singers. Reception and performance practice on the Parisian stage at the Beginning of the 18th century”, D’une scène à l’autre. L’opéra italien en Europe. Vol 1. Les pérégrinations d’un genre, a cura di Alessandro di Profio e Damien Colas, Mardaga, Liège (2009), pp. 253-266.