OBERTO 2017: Opéra sans frontières: Musicians and migration in a globalised world

Oxford Brookes University, Oxford, 12 September 2017

This conference will reflect on the transnational nature of the opera profession through presentations, round tables and free-ranging discussions. As with previous OBERTO conferences, we aim to bring together in fruitful debate academics, performers, conductors, directors, agents, opera company managers, journalists and any other stakeholders in the opera industry.

Provisional programme

9.00: Registration

9.45: Welcome

1: Singers and suitcases

10.00: Flora Willson (King’s College London): ‘Celebrity migrations: Nellie Melba, bel canto and the borders of the operatic canon’

10.30: Mirijam Beier (Universität Salzburg): ‘The Pirker correspondence as a source for the mobility of operisti in the eighteenth century’

11.00: Tea / coffee break

2A: Writing about crossing borders

11.30: Charlotte Bentley (University of Cambridge): ‘Translating nineteenth-century New Orleans: the operatic travel writing of Charles Jobey’

12.00: Eric Schneeman (University of the Incarnate World): ‘Transgressing the German “Border”: Giacomo Meyerbeer’s Italian Career and the German Press of the Nineteenth Century’

12.30: Chenyin Tang (University of Southampton): ‘Making opera – making Empire? Western opera in Maritime East Asia (1842-1941)’

2B: Exiles and Emigrés

11.30: Nils Grosch (Universität Salzburg): ‘Alfred Einstein’s View on Music Theatre and Cultural Mobility’

12.00: Malcolm Noble (University of Leicester): ‘Rudolf Bing and the establishment of the Edinburgh Festival in civic, national and international perspective’

12.30: Norbert Meyn (Royal College of Music): ‘Singing a song in a foreign land: challenges and opportunities’

1.00: Lunch break

3: Protectionism

2.15: Gwen D’Amico (City University of New York): ‘The Trading with the Enemy Act: the fate of German singers stranded in New York during World War I’

2.45: Russell Burdekin (independent scholar): ‘Rodwell’s Letter to the Musicians of Great Britain: an attempt to build a bastion for English opera’

3.15: Alexandra Wilson (Oxford Brookes University): ‘Citizens of nowhere? Opera singers and cultural protectionism in 1920s Britain’

3.45: Tea / coffee break

4.15: Panel discussion: (speakers will include singers, a dramaturg and a critic – names to be confirmed shortly.)

5.45: Finish

The conference will take place at Oxford Brookes University, Headington Hill Campus, Headington Hill Hall. For directions and transport links please see here. Participation is free, but please register with barbara.eichner@brookes.ac.uk by 4 September.

MVSA Conference April 2016 – Victorian News: Print Culture and the Periodical Press

The Midwest Victorian Studies Association will hold its 2016 annual conference at the University of Missouri–Columbia, April 8-10. Taking as its starting point the remarkable explosion in the periodical press and the availability of cheap print in the Victorian Era, the conference aims to attract papers that reflect fresh and current thinking about the topic. Proposals for papers of twenty minutes in length are sought from scholars working in art history, musicology, history, science, philosophy, theater, and literature. We particularly encourage presentations that will contribute to cross-disciplinary discussion, a special feature of MVSA conferences.

The official call for papers is now closed, but the seminar CFP has been extended to January 20, 2016.  MVSA Conference seminars are open to graduate students, faculty and independent scholars.  Participants will write 5-7-page papers, to be pre-circulated among other seminar participants in advance.  Members will identify important points of intersection and divergence, as well as future areas of inquiry and collaboration.  The seminar format allows a larger number of scholars to participate in MVSA and to seek financial support from their respective institutions.  Seminars are limited to 12 participants.  All seminar proposals should be submitted via email directly to the seminar leaders by January 20, 2016.  See the full seminar CFP here.

The three seminar topics and leaders are:

Print Culture and the Mass Public: Dissemination and Democratization (Leader, Julie Codell, School of Art, Arizona State University)

Finding/Creating a Voice in the Periodical Press (Leader, Leanne Langley, IMR Lifetime Fellow, University of London)

The Transatlantic Periodical Press (Leader, Jennifer Phegley, Department of English, University of Missouri – Kansas City)

For further information, including a range of possible topics across the full conference, see the 2016 Conference website here.

 

 

 

 

 

Britain and the British in World Culture. Celebrating Benjamin Britten’s Centenary

Center for New Technology in the Arts “Art-parkING”
Rimsky-Korsakov St. Petersburg State Conservatoire

Partners:
British Council Russia, British Consulate-General in St. Petersburg

Britain and the British in World Culture. Celebrating Benjamin Britten’s Centenary
International Conference
St. Petersburg, 31st October – 1st November 2013

The two-day international conference “Britain and the British in 20th Century Culture” will take place in St. Petersburg at the Rimsky-Korsakov Conservatoire from 31st October to 1st November 2013. The conference is designed as a dialogue between musicology, art history and cultural history. A central theme will be how Britain and her people have been portrayed over the last century in various trends, spiritual movements and artistic styles, covering all kinds of arts, including music, literature, theatre, architecture, sculpture and cinematography.

“Not only England, but every Englishman is an island” (Novalis, 1799). The reception of this country, its people and culture has inspired memoirs, essays, books, articles, plays and films. Such a range of material offers potential for a wide range of conference topics.

The symbolism of the homonyms – Britten and Britain – allows us to put the British Britten at the heart of the conference. Intercultural and intertextual connections will be made by reflecting the multifaceted phenomenon of “Britishness” in British culture.

The Conference forms part of the Thirteenth International Festival “The International Conservatory Week Festival”, opening with a performance of one of Benjamin Britten’s masterpieces, “Spring Symphony”, on the 1st of November.

The Conference Organisers:
Liudmila Kovnatskaya (Professor of the Rimsky-Korsakov St. Petersburg State Conservatoire) – chair
Mikhail Gantvarg (Rector of the Rimsky-Korsakov St. Petersburg State Conservatoire)
Lidia Volchek (Director of the International Festival “The International Conservatory Week Festival”)
Lidia Ader (Senior researcher of the N. Rimsky-Korsakov Museum-Apartment, Director of the Center for New Technology in the Arts “Art-parkING”)
Nataly Kolesova (Director of the Center for New Technology in the Arts “Art-parkING”)

Proposals for academic papers and posters are invited (requirements – A3 format, should be sent by October 1st).
The working languages of the conference will be Russian and English. The time-limit for papers is 20 minutes plus a discussion time of 10 minutes. Please submit abstracts for papers of no less than 200 and no more than 300 words, together with a short CV of 100 words; both should be sent by e-mail to Lidia Ader (lidia.ader@artparking.org).

The deadline for abstracts is 15 June 2013. Notifications of acceptance will be sent out by the end of June 2013 at the latest. Selected conference papers and materials will be published in the journal “Opera Musicologica”.
For some participants organizers will be able to provide a free accommodation.

British Contemporary Classical Music since 2000s

Venue:
 Chancellor’s Hall, Senate House, University of London

Convener: Osvaldo Glieca

Date:
 Tuesday, 21 May 2013

Time:
 2.00pm to 8.30pm

Keynote Speakers: TBA

 Call for Papers:

The organisers are looking for a number of presentations, which explore and relate to current theoretical and philosophical positions on British contemporary classical music of the last decade. Critiques based on aesthetic principles, compositional techniques, and new sound-timbre are welcome, especially on the younger generation of British composers born around the 1970s.

Interests are also directed – and not restricted – to the way of promoting British living composers within the art-business, music publishing and recording industry, particularly in the recent times where the media industries are becoming very influential, taking over more control from the traditional record companies.

Audio and/or video, and power point presentations are welcome.

This seminar will be in conjunction with the Simon Holt music conference.

Lectures will be 20 minutes in duration.

Please submit proposals of no more than 300 words plus a short biography to:

Mr. Osvaldo Glieca:  osvaldoglieca@gmail.com

Deadline: 26 April 2013

Please note that all costs for attendance at the conference will need to be covered by the participants.

Full delegate fee: £25

Student delegate fee: £15

The Music of Simon Holt

The Institute of Musical Research in collaboration with London College of Music presents

The Music of Simon Holt

A one day symposium to celebrate his music with concerts and lectures

 

Convenors: Dr. Martin Glover, Mr. Osvaldo Glieca

Venue:  Chancellor’s Hall, Senate House

Date:  21th May 2013

Time: 2.00pm to 8.30pm

Keynote Speakers: Anthony Gilbert and Simon Holt

 

Call for Papers:

The symposium will convene to celebrate the music of Simon Holt, who is now widely recognized as one of today’s eminent British composers. Since the second half of 1980s he has gained considerable international recognition. Regarded in some circles as a ‘British expressionist’, his music is, none-the-less without obvious stylistic reference points; rather the listener is inevitably drawn into an innovative and profound experience of poetry in sound.

The organizers are looking for a number of high quality presentations on Holt’s music, whether in the form of analysis on particular works, exploration in broader terms of the new territories his music maps out or contextual studies that relate the music to current theoretical and philosophical positions on the music of today.

Proposals should be presented in the first place in the form of 300 – 400 word abstracts, accompanied by brief biographical notes on the contributor.

Proposals are to be submitted by March 22th 2013 by email to:

 martin.glover@uwl.ac.uk

Tel: +44  (0) 208 280 0225

or by post:

Dr. Martin Glover
London College of Music
Room 302
University of West London
St. Mary Road
London
W5  5RF
UK

Music and Politics in Britain and Italy, 1933-1968

Call for Papers Deadline: 26 June 2012

King’s College London, UK, 13-14 September 2012

The aim of this conference is to bring together research students and early career scholars for a discussion of music and politics in the mid-twentieth century. From the accession of Hitler in 1933 to the cultural revolutions that swept across Europe in the late 1960s, music was politicised on an unprecedented scale.

The similarities and differences between Britain and Italy make them ripe for a comparative approach. In the aftermath of the First World War, both countries developed powerful Marxist and Fascist contingents, but while Britain remained democratic, Italy became home to one of the longest-running totalitarian regimes of the twentieth century. Both had prominent heritage industries, but nostalgia for a musical past had differing political resonances within and between the two countries. And although both were economically and physically damaged by the Second World War, their experiences of conflict were notably different: Italy endured occupation, Allied liberation and subsequently what amounted to civil war; Britain maintained its freedom, but, in doing so, furthered the decline of its status as an imperial and world power.

Many prominent scholars are currently addressing the fact that Britain and Italy have tended to reside at the edge of musical historiography during this period, sidelined by the centrality traditionally afforded Germany and France; this conference seeks to be part of this ongoing discussion. How did political events affect musical culture during this period? Can a comparative study of Italy and Britain reveal more about what it meant for music to be politicised during and after the Second World War?

We welcome submissions on subjects related to music and politics in Britain or Italy between 1933-1968.

Keynote Speakers:
Arman Schwartz (Columbia) and Heather Wiebe (Virginia), ‘Inside the Glass Mountain’

Roundtable, chaired by Roger Parker (King’s College London), and featuring: John Deathridge (King’s College London), Benjamin Earle (Birmingham), Marina Frolova-Walker (Cambridge), Thomas Irvine (Southampton) and Laura Tunbridge (Manchester).

For further information, and to submit a proposal, please visit:
http://www.musicandpolitics.org.uk