Andreas Giger holds a Lizentiat in Musicology from the University of Zurich, a Lehrdiplom in Piano from the Winterthur Conservatory, and a PhD in Musicology from Indiana University. Between 1998 and 2000, he was Associate Director of the Center for the History of Music Theory and Literature at Indiana University.
Giger’s research interests have concentrated on nineteenth-century Italian opera and the work of Leonard Bernstein. He is the author of the monograph Verismo (Wiesbaden: Steiner, 2004) in the Handwörterbuch der musikalischen Terminologie and the book Verdi and the French Aesthetic: Verse, Stanza, and Melody in Nineteenth-Century Opera (Cambridge University Press, 2008), which was supported by a Fellowship from the National Endowment for the Humanities. In addition, he is the author of articles in many books and journals, including the Journal of the American Musicological Society, the Journal of the Society for American Music, the Journal of Musicology, the Cambridge Opera Journal, Acta musicologica, Studi verdiani, Music & Letters, Nineteenth-Century Music, Nineteenth-Century Music Review, the Cambridge Companion to Verdi, the Oxford Handbook of Opera, the Cambridge Verdi Encyclopedia, and the second edition of The New Grove Dictionary of Music and Musicians, among others. He has edited I due Foscari for The Works of Giuseppe Verdi (Ricordi and the University of Chicago Press, 2017) and Pagliacci (Bärenreiter, 2020), the latter with the support of a Fellowship from the National Endowment for the Humanities. He is currently completing the critical editions of Un ballo in maschera (started by Ilaria Narici; for The Works of Giuseppe Verdi) and Cavalleria rusticana (for Bärenreiter), the latter with the support of a grant from the National Endowment for the Humanities.
Giger has edited (with Thomas J. Mathiesen) Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century (University of Nebraska Press, 2002), for which he has received an ASCAP Deems-Taylor award. He serves on the editorial boards of Nineteenth-Century Music Review, Studi verdiani, and The Works of Giuseppe Verdi. He is co-general editor (with Francesco Izzo) of Masterpieces of Italian Opera (for Bärenreiter).