| Embodied Musicality: Nietzsche, Grotowski and Musicalized Processes in Theatre Making M Frendo Studies in Musical Theatre 7 (2), 207-219, 2013 | 7 | 2013 |
| Ancient Greek tragedy as performance: The literature–performance problematic M Frendo New Theatre Quarterly 35 (1), 19-32, 2019 | 6 | 2019 |
| stanislavsky’s musicality: Towards physicalization M Frendo Studies in Musical Theatre 8 (3), 225-237, 2014 | 6 | 2014 |
| Opera’s Second Life: Katie Mitchell’s Contributions to Contemporary Opera-Making M Frendo Contemporary Theatre Review 30 (2), 211-225, 2020 | 2 | 2020 |
| Nietzsche’s Musical Perspectivism: Interdisciplinary Ontologies in Performance M Frendo Interdisciplinarity in the Performing Arts: Contemporary Perspectives, 121–143, 2018 | 2 | 2018 |
| A Conversation on Directing Opera K Mitchell, M Frendo New Theatre Quarterly 37 (3), 246-255, 2021 | 1 | 2021 |
| Nietzsche, la música y el dramaturgo ditirámbico: una perspectiva performativa M Frendo Nietzsche y su Sombra: Consideraciones sobre lo poético y lo artístico, 163–179, 2019 | 1 | 2019 |
| Towards a Pedagogical Vision for Opera: The Musico-Dramatic Text and Stanislavsky's 1922 Staging of Eugene Onegin M Frendo Stanislavsky and Pedagogy, 135-155, 2024 | | 2024 |
| The Classics and Why We Want to Keep Engaging with the Ancients M Frendo Melita Classica 7, 9–12, 2021 | | 2021 |
| The dithyrambic dramatist: A Nietzschean musical-performative conception M Frendo Studies in Musical Theatre 14 (2), 193-206, 2020 | | 2020 |
| Musicality and the Act of Theatre: Developing Musicalised Dramaturgies for Theatre Performance M Frendo University of Sussex, 2013 | | 2013 |
| Sound: A Reader in Theatre Practice, Ross Brown (2010) – Book Review M Frendo International Journal of Performance and Digital Media 8 (1), 135–138, 2012 | | 2012 |
| Composition portfolio M Frendo University of Malta, 2006 | | 2006 |
