Judith Ortega, PhD in Musicology, has been Professor at the Musicology Department of UCM (Universidad Complutense de Madrid) since 2015, and a coordinator of the Master¿s programme in Spanish and Hispanic American music at UCM since 2020. She was a researcher at Instituto Complutense de Ciencias Musicales (ICCMU) from 1998 to 2019. She has put together more than sixty critical editions of operas and zarzuelas and has been an editor of the only existing encyclopaedia on Spanish and Hispanic American music, Diccionario de la música española e hispanoamericana. She is co-editor of the scientific journal Cuadernos de Música Iberoamericana and Music Advisor in Patrimonio Nacional. Her wide research experience has focussed on eighteenth- and early nineteenth- century Spanish music in the context of court and nobility. In the last few years she has also become interested in the Spanish lyrical theatre of that period. In collaboration with J. Berrocal, she has put together a critical edition of the solo sonatas of the Royal Chapel (Sonatas a solo en la Real Capilla 1760-1819, Madrid, ICCMU, 2010). She has published numerous research articles in scientific journals as well as in collective books, and she has taken part in numerous scientific conferences and research projects. From January 2019 up to June 2020 she has been senior researcher of the following project: Didone. The Sources of Absolute Music: Mapping Emotions in Eighteenth-Century Italian opera. The project was funded by an Advanced Grant from the European Research Council, which was awarded to Dr Álvaro Torrente. She is a member of the following research groups: Música Antigua (Ancient Music) at UCM and Música en España en la Edad Moderna: composición, recepción e interpretación (Music in Spain in the Modern Age: composition, reception and interpretation) at Rioja University. She collaborates with the Estudos Históricos e Culturais em Música research group at the INET-md research centre. In collaboration with musicologist Cristina Fernandes, she has been leading an international research seminar on ¿Music in the Iberian Courts¿, which has so far been held in Madrid (2018) and Lisbon (2019). At the same time, she has contributed to the dissemination of her work by writing notes for concert programmes and music recordings. She has also carried out various projects of recovery of the historical repertory and contributed to its dissemination through concerts and music recordings, in collaboration with ensembles such as La Tempestad, directed by Silvia Márquez and Nereydas, directed by Javier Ulises Illán.