Jeremy Coleman

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Resident Lecturer in Music in the Department of Music Studies, School of Performing Arts, University of Malta

Jeremy Coleman (PhD) is a Resident Lecturer in Music in the Department of Music Studies, School of Performing Arts, University of Malta, and Area Director in Research for the School of Performing Arts. He is a musicologist and collaborative pianist with interests in research and in teaching on various topics centred on 19th-century musical repertoire and culture. He has taught at the University of Aberdeen, University of Cambridge, and King's College London. He has degrees in Music (BA Hons) and Musicology (MPhil) from Clare College Cambridge in 2010 and 2011, and a PhD in Musicology from King’s College London in 2016.

His first book Richard Wagner in Paris: Translation, Identity, Modernity appeared with Boydell & Brewer in 2019 and has been reviewed in The Wagner Journal (Heath Lees), The Musical Times (Arnold Whittall), Choice (Brian Doherty), Wagner Notes (Peter Bloom), Die Musikforschung (Stephanie Schroedter), Volupté: Interdisciplinary Journal of Decadence Studies (Michael Craske) [open access:], Opera (Chris Walton), Transposition: Musique et Sciences Sociales (Jennifer Rushworth) [open access:], Opera News (David J. Baker), and Notes (Woodrow Steinken) ('Original, valuable and highly absorbing, especially where it unpacks new and exhilarating discourses from fields other than musicology...a fascinating story' The Wagner Journal).

He has published articles and book reviews in journals including Music & Letters, Current Musicology, The Wagner Journal, The Chopin Review, and Marx & Philosophy Review of Books, and has translated academic essays. He has also contributed numerous entries in The Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi (Cambridge University Press, 2013) and The Cambridge Stravinsky Encyclopedia, eds. Edward Campbell and Peter O'Hagan (2021). He is a peer reviewer for several Cambridge University Press journals.


As a pianist, Jeremy has collaborated with choreographers and dancers, performing piano works by Béla Bartók and György Ligeti for contemporary dance productions. While based in Aberdeen (between 2015 and 2020), he worked extensively as an accompanist, repetiteur and chamber-music partner in a variety of repertoire.


During his residency as visiting researcher at LaM, Jeremy will be engaged in research projects that cover a range of methodologies, including an edition and English-language translation of François-Joseph Fétis's Wagner writings, in collaboration with Dr Adeline Heck, and a major project on musical historicism and music historiography

Domaines d'intérêt

Opera and Music Theatre, especially Wagner

Performance (Piano, Chamber Music, Song, Opera) and Performance Practice

Historiography, Philosophy of History

Music Criticism and Analysis

History of Music Theory

Translating and Editing

Critical/Social Theory, Psychoanalysis, Radical Philosophy

Travaux sélectionnés

‘Critical Dislocations: Champfleury’s Richard Wagner (1860)’, Reading Texts in Music and Literature of the Long Nineteenth Century, eds. Katharine Ellis and Phyllis Weliver (forthcoming with Boydell & Brewer, 2025).


‘Petrushka’s Survival’, Music and Motion: Interweaving Artistic Practice and Theory, ed. Stephanie Schroedter (forthcoming with mdwPress, 2024).

Review of: Tomás McAuley, Nanette Nielsen, Jerrold Levinson, eds., and Ariana Phillips-Hutton, assoc. ed., The Oxford Handbook of Western Music and Philosophy (Oxford University Press, 2021), in Music & Letters 104/2 (May 2023), 336-38.

Translation from German: Dominik Sackmann, “‘A Triumph of Spirit over Matter’: Conjectures about Johann Sebastian Bach’s Sei solo a Violino senza Basso accompagnato (BWV 1001-1006)”, The Bach Project [website] commissioned by John Holloway (Cooper Digital Publishing, 2023).

Review of: J. P. E. Harper-Scott, The Event of Music History (The Boydell Press, 2021), in The Wagner Journal 16/2 (Jul. 2022), 82-86.

Review of: Chris Walton, Richard Wagner’s Essays on Conducting (University of Rochester Press, 2021), in Music & Letters 103/1 (Feb. 2022), 176-79.

The Cambridge Stravinsky Encyclopedia, eds. Edward Campbell and Peter O’Hagan (Cambridge University Press, 2021), 32 entries.

‘Redemption from the Redeemer? Review Article on Roger Scruton and Wagner’s Parsifal’, The Wagner Journal 15/1 (Mar. 2021), 50-60.

Review of: Mark Berry and Nicholas Vazsonyi, eds., The Cambridge Companion to Wagner’s Der Ring des Nibelungen (Cambridge University Press, 2020), in Music & Letters 102/3 (Aug. 2021), 616-19.

Translation from German: Beatrix Borchard, Chapter 6: ‘The Concert Hall as a Gender-Neutral Space: The Case of Amalie Joachim, née Schneeweiss’, German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries, edited by Natasha Loges and Laura Tunbridge (Indiana University Press, 2020), 132-153.

Richard Wagner in Paris: Translation, Identity, Modernity (Woodbridge: The Boydell Press, 2019).

‘“in ein fernes Land”: The Politics of Translation in Wagner’s Arrangement of Gluck’s Iphigénie en Aulide’, The Wagner Journal 13/2 (Jul., 2019), guest ed. Roger Allen, 28-48.

Naomi Waltham-Smith, Music and Belonging Between Revolution and Restoration (Oxford University Press, 2017); Daniel K. L. Chua, Beethoven and Freedom (Oxford University Press, 2017), in Marx & Philosophy Review of Books, 10 Mar. 2019.

‘Found in Translation’: Review of Richard Wagner, The Ring of the Nibelung, trans. John Deathridge (Penguin, 2018), The Wagner Journal 13/1 (Mar. 2019), ed. Barry Millington, 82-85.

David Frick, trans., Chopin’s Polish Letters (Fryderyk Chopin Institute, 2016), in The Chopin Review I (2018), 112-115.

‘The Body in the Library’: Review of Richard Wagner Sämtliche Werke (Schott, 1970-), in The Wagner Journal 11/3 (Nov., 2017), guest ed. Tash Siddiqui, 86-92.

The Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi (Cambridge University Press, 2013), 15 entries.

Eva Rieger, Richard Wagner’s Women (Boydell Press, 2011), trans. Chris Walton; Laurence Dreyfus, Wagner and the Erotic Impulse (Harvard University Press, 2010), in Current Musicology 96 (Fall, 2013), 125-136.