Green's early career was devoted to surveying the body of European texts on women's medicine up to ca. Green Prize for Distinguished Medieval Research, founded in 2021 to recognize work "that shows the value of medieval studies in our present day" (). In recent years, her interest in the world's leading infectious diseases, many of which owe their global dissemination to epidemiological developments in the Middle Ages, has induced her to expand her teaching and research into Global History. She has worked throughout her career in the field of medieval European medical history. Green is a historian of medicine and health. Ultimately, this period was crowned with the arrival of Parsifal on Italian stages, when Catholic readings of Wagner's symbology and echoes of Palestrina promoted a particularly Italian interpretation of the opera’s meaning and musical language.Monica H. Examining new Italian operas ranging from Franchetti's Asrael to Puccini's Tosca, this chapter will suggest that librettists and composers approaching religious themes were keenly aware of the need to create a vocabulary of religious images and sounds which the predominantly Catholic audiences across Italy could recognise, even when adopting ideas from French or German literary and musical models. The religious question, and the battle between the Church and state, posed a further set of questions in developing this national identity, which can be traced through opera's engagement with foreign influences. For the generation of the giovane scuola this was often characterised as a crisis of national musical style and identity, strongly linked to the post-Risorgimento imperative to create a compelling civic and political culture for the new nation. The decades between unification and World War I saw opera in Italy absorb multiple literary and musical influences from beyond the Alps, including exoticism and naturalism and, successively, the operas of Meyerbeer and Wagner.
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