Professor Cormac Newark studied Music at the University of Oxford, Music Theory and Analysis at King's College London, and orchestral conducting at the École Normale de Musique in Paris. Returning to Oxford, he wrote his doctoral dissertation (on the reception of Parisian grand opéra) under the supervision of Roger Parker; then for three years he was a fellow of Trinity Hall, Cambridge. Between 2002 and 2004 he lived in Bologna, carrying out research funded by the Leverhulme Trust, after which he took up a lectureship at the University of Ulster.
He has been the recipient of a number of grants and prizes from, among others, the British Academy, the Worshipful Company of Musicians, the French Government, and the American Musicological Society. Cormac works mainly on nineteenth-century French and Italian opera and literature. His book, Opera in the Novel from Balzac to Proust, was published by CUP in 2011, and his essays have appeared in 19th-Century Music, the Cambridge Opera Journal, the Journal of the Royal Musical Association, and various edited collections. He has also written for Opera magazine and the Guardian.
The Tense Present
Newark, C. (2024). The Tense Present: Review of Emanuele Senici, Music in the Present Tense: Rossini’s Italian Operas in Their Time (Chicago: Chicago University Press, 2019). The Opera Quarterly, 39(1-2), 151-158. https://doi.org/10.1093/oq/kbae012
2024
View Output“Voi e il sottoscritto”: Estetica della critica in Fedele d’Amico
Newark, C. (2021). “Voi e il sottoscritto”: Estetica della critica in Fedele d’Amico. (L'arte armonica. Serie 3, Studi e testi). Accademia Nazionale di Santa Cecilia.
2021
View OutputCanons of the Risorgimento then and now
Newark, C. (2020). Canons of the Risorgimento then and now. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190224202.013.24
2020
View OutputGeneral introduction: Idiosyncrasies of the opera canon
Newark, C., & Weber, W. (2020). General introduction: Idiosyncrasies of the opera canon. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190224202.013.30
2020
View OutputOpera in nineteenth-century Italian fiction: Reading “Senso”
Newark, C. (2020). Opera in nineteenth-century Italian fiction: Reading “Senso”. Edinburgh University Press.
2020
View OutputThe Oxford handbook of the operatic canon
Newark, C., & Weber, W. (2020). The Oxford handbook of the operatic canon: Oxford handbooks. Oxford University Press.
2020
View Output“Silver fork” novels and the place of voice
Newark, C. (2019). “Silver fork” novels and the place of voice. University of Chicago Press. https://doi.org/10.7208/9780226670218-013
2019
View OutputThe least of opera’s many constituencies (The politics of opera by Mitchell Cohen)
Newark, C. (2019). The least of opera’s many constituencies (The politics of opera by Mitchell Cohen). Journal of Interdisciplinary History, 49(3), 486–487.
2019
View OutputWhy exactly do we need more books on Verdi? ('Giuseppe Verdi' by Eduardo Rescigno and 'Giuseppe Verdi: Composer' by Daniel Snowman)
Newark, C. (2019). Why exactly do we need more books on Verdi? ('Giuseppe Verdi' by Eduardo Rescigno and 'Giuseppe Verdi: Composer' by Daniel Snowman). Verdiperspektiven, 4, 242–244.
2019
View OutputMusical sources and “thereness”: The location of inspiration in cinematic adaptations of Le Fantôme de l’Opéra
Newark, C. (2018). Musical sources and “thereness”: The location of inspiration in cinematic adaptations of Le Fantôme de l’Opéra. Opera Quarterly, 34(2-3), 126-152.
2018
View Output