4th Transnational Opera Studies Conference

Bayreuth, June 24–26, 2021
Founded in Bologna in 2015, tosc@ is a biennial meeting designed to give scholars, artists and opera lovers from different countries the opportunity to come together. The name of the conference is an acronym:

                            Transnational

                            O pera

                            S tudies

                            C onference

                                        @                   with the final word referring to the host city.

Open to all approaches, forms, genres and periods, the tosc@ conference aims to unite the excellence and boldness of contemporary research on opera and musical theatre in general. The conference moves from place to place, encouraging the presence of contributors from the host countries, enlarging the circle of its participants and promoting encounters between cultures and sensibilities. In this way it hopes to foster interest in opera studies in the younger generation of researchers, be they musicologists or scholars from other disciplines. Papers may be given in the language(s) of the host country or in English. Everyone is invited to take part, regardless of their professional status.

tosc@bayreuth.2021

Following the success of the first three meetings (tosc@bologna.2015, tosc@bern.2017 and tosc@paris.2019), the fourth edition of the tosc@ conference will take place at the University of Bayreuth, Germany, from June 24–26, 2021. Since 1976 the University has hosted a unique Research Institute for Music Theatre, located in the nearby Castle of Thurnau. With the Richard Wagner Festspielhaus and the Margravial Opera House the city of Bayreuth is filled with operatic history and culture, which can be explored by all participants in the diverse organized activities accompanying the conference.

The Programme Committee consists of:

Luisa Cymbron (Universidade NOVA de Lisboa),

Nils Grosch (Universität Salzburg),

Kordula Knaus (Universität Bayreuth),

Gundula Kreuzer (Yale University),

Raphaëlle Legrand (Université Paris-Sorbonne),

Isabelle Moindrot (Université Paris 8),

Anno Mungen (Universität Bayreuth)

and Benjamin Walton (University of Cambridge).

Kordula Knaus and Anno Mungen are also the conference organizers.

The Programme Committee welcomes proposals in the following formats:

individual papers (20 minutes long, with 10 minutes for discussion);

themed sessions (three or four papers, each 20 minutes long with 10 minutes for discussion – please note that the Committee reserves the right to accept one or several proposals on a separate basis even if the entire panel is not selected);

roundtable sessions (90 minutes long, up to six people each giving a brief position paper, followed by a general discussion).

We invite submissions on any subject related to opera and other forms of musical and music theatre. Presentations which integrate performative aspects, or other alternative formats, are welcome. Methodologies may be varied, traversing disciplines and perspectives: verbal text, music, drama, performance, body, voice, interpretation, declamation, painting, scenography, dance, staging, stage technology, cinema, photography, video, television, radio, digital arts, as well as reception, historiography, economics, ecology, opera and society, opera and the media, opera and the other arts, etc.

Reflecting the special research interests of the University of Bayreuth with its Research Institute for Music Theatre and the ‘Africa Multiple’ cluster of Excellence, proposals focusing on performance research and practices as well as proposals focusing on perspectives of racially or culturally ‘othered’ operatic phenomena are encouraged. Furthermore, proposals that engage with questions of opera at the periphery of the traditional Western operatic culture and opera in a globalized world, as well as transnational perspectives, will be of particular interest to the committee. Preference will be given to proposals that explore questions and problematics, rather than simply offering descriptive accounts.

Proposals may be submitted in English, French, German or Italian. They must include the following:

– author’s full name, – country and institution, – e-mail address, – paper title, – abstract.

Abstracts should be prepared as follows:

– individual papers: maximum 350 words;

– themed sessions: a 250-word summary outlining the aims of the session and a 350-word abstract for each paper;

– roundtable sessions: a 250-word summary outlining the aims of the session, and a brief description of each position paper.

Typically, an academic abstract should include a clear statement of the topic and research question(s), contextualized within existing knowledge; a summary of the argument, evidence and conclusions; and an explanation of why the topic and findings are important. Abstracts should thus include all necessary information that will allow the Programme Committee to evaluate the paper’s quality and originality and its potential as an oral presentation.

Proposals must be submitted as attachments by email as a Word file (“.doc” or “.docx” – not “.pdf”) to:

tosc@uni-bayreuth.de

by September 30, 2020

Everyone submitting a proposal will be sent a confirmation email; if you do not receive a notification within six days, please resend the proposal. All abstracts will be anonymized before being evaluated by the Programme Committee. Do not include any information in your abstract that could reveal your identity (such as ‘As I have shown in my earlier article…’).

All those who have submitted a proposal will be notified of the outcome by the beginning of January 2021. Following acceptance by the Programme Committee, there will be an opportunity to revise abstracts before their publication in the conference programme.

FEES

As for other events of this kind, participants (speakers and spectators) will be required to pay for themselves. The precise registration fee will depend on the number of participants, and will be confirmed when the notification of accepted papers is sent; it will, however, be no more than € 100 (€ 50 for students and scholars from the Global South), and will include three buffets. A special effort will be made for scholars from the Global South in order to provide travel grants. ​

THE tosc@bayreuth.2021 AWARD

The Programme Committee will offer an award for the best paper presented by a junior scholar at the conference. All those who started their doctoral research in 2010 or later and whose papers are accepted for the conference, will be eligible. Those who wish to be considered for this award must submit the final version of their paper to the Programme Committee (accompanied by any musical examples, images, etc.) to tosc@uni-bayreuth.de by May 20, 2021.

The tosc@bayreuth.2021 award will be awarded at the end of the event (June 26, 2021). The winner will be invited to submit the oral presentation as a full article for publication in a prominent international peer-reviewed journal, and will be invited to present a new paper at a plenary session of the fifth edition of tosc@.

CALENDAR

  • September 30, 2020: Deadline for the candidates’ submissions
  • Early January 2021: Announcement of the results
  • May 20, 2021: Deadline for submissions to the tosc@bayreuth.2021 award
  • May 20 – June 20, 2021: Evaluation of young researchers’ papers
  • June 24–26, 2021: tosc@bayreuth.2021

Click here to download the CfP.

Click here for more information on the conference homepage.

Opera and the City: Technologies of Displacement and Dissemination

Opera and the City: Technologies of Displacement and Dissemination

National Theater of São Carlos

(Lisbon Opera House)

Lisbon, Portugal

24—25 June, 2019

Keynote Speakers:

David J. Levin (University of Chicago / Department Cinema and Media Studies)

Martha Feldman [to be confirmed] (University of Chicago / Department of Music)

Paulo Ferreira de Castro (Universidade Nova de Lisboa / CESEM)

Program Committee:

Jelena Novak (Universidade Nova de Lisboa / CESEM)

João Pedro Cachopo (Universidade Nova de Lisboa / CESEM)

Mário Vieira de Carvalho (Universidade Nova de Lisboa / CESEM)

*

Since its inception in Italy around 1600, opera has maintained an intimate relationship with urban space and the public sphere. Most opera houses were erected in city centers and came to be seen both as secular temples and sites of entertainment in which the appreciation of high art coexisted with popular conviviality and the representation of social, political, and economic power. Just as the development of the operatic genre is inextricably linked to the rise of modern cities, it is also certain that much has changed since the inauguration of the first public opera house, the Teatro San Cassiano, in Venice, in 1637.

During the course of the twentieth-century, the emergence and advancement of new technologies of sound and image reproduction have been decisive factors in these transformations. It became possible to listen to and watch opera without attending a live performance. Further, after the introduction of synchronized sound in cinema, nothing prevented opera from being performed and recorded in places other than opera houses. Later, thanks to TV, live audio-visual broadcasts of opera became a reality, one which new digital technologies have enhanced ever since.

This conference seeks to assess technology’s impact on opera against the backdrop of its relationship to urbanity. The following question, in which issues of displacement and dissemination are weaved together, will stand at the centre of our discussions: how and to what extent did the development of audio-visual technologies allow for the visibility and audibility of opera beyond the theatre while at the same time encouraging its migration to other spaces? Many disparate practices invite this interrogation: from the live simulcasts that beam productions from opera houses to movie theatres, to the creation of new operas in town squares, train stations, old factories, swimming pools, and public transportation, not to mention community-oriented projects such as The Bicycle Opera Project or Operndorf Afrika, and open-air festivals, including the Arena di Verona Festival and the “Festival ao Largo” promoted by the National Theater of São Carlos (Lisbon Opera House).

Despite its widely reputed decline, opera is presently enjoying a moment of surprising vitality. This is true in the fields of reception and production alike, as new forms of staging and creating opera are being experimented with every year. By addressing the link between opera, technology, and the city, this conference will also attempt to draw attention to this very vitality. We hope to stimulate as broad an exchange and as open an inquiry as possible, encompassing issues of dramaturgy, criticism, spectatorship, remediation, technology, and composition, among others.

*

We welcome proposals from both scholars and practitioners across disciplines for 20-minute long papers exploring any of the above-mentioned topics. Please submit your abstract (of up to 250 words) to propera2020@gmail.com no later than April 15, 2019. The program will be announced in early May. This international conference is organized within the scope of the project “PROPERA – The Profanation of Opera: Music and Drama on Film” (funded through the European Commission under a Marie Skłodowska Curie Action) and is co-sponsored by the Centro de Estudos de Sociologia e Estética Musical (Faculdade de Ciências Sociais e Humanas / Universidade Nova de Lisboa). More information here.

Singing Speech and Speaking Melodies: Musical Theatre (1650-1918)

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Research Group ERASMUSH, University of Oviedo (Oviedo, Spain)

Oviedo, Edificio Histórico de la Universidad
09 – 11 May 2019

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Research Group ERASMUSH of the University of Oviedo (Spain) are pleased to invite submissions of proposals for the symposium «Singing Speech and Speaking Melodies: Musical Theatre (1650-1918)», to be held in Oviedo, Edificio Histórico de la Universidad de Oviedo (Historic Building of the University of Oviedo), from Thursday 9 to Saturday 11 May 2019.

This conference aims to deal with the complex world of the variety of stage works such as vaudeville, singspiel, zarzuela, operetta, opéra-comique, intermezzo, tonadilla or ballad opera, that were born around the establishment of Opera as a musical genre in different European Countries. Most of them with a long life, flourished during the 19th and the beginning of 20th century , becoming then a mass phenomenon that gathered a large audience. Despite the many differences, all of these forms of musical theatre share an alternation of sung parts and spoken dialogue , and some of them dance too. During their evolution and dissemination around the world, many of these genres of musical theater have maintained their denomination but changed their forms and literary-musical references, sometimes enriched with foreign contributions and inbreading between closely related genres. This development has created some epistemological problems about what zarzuela, operetta or opéra-comique means in the different periods of its life.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

• Repertoire and analysis of models
• Dramaturgical roles of the singing & of the spoken word
• Literary sources and influences
• Sources, relationships and divergences
• Production system, consumption, entertainment system
• In & out of Europe: dissemination and adaptation of theatrical genres
• Performing practice: Do the singers speak or the actors sing?
• The public and its social component
• Musical aesthetics and criticism
• Scene, choreography and dance
• Costumes, Decorations and Scenic Design
• Editing theatrical music: from the piano to the orchestral accompaniment

Programme Committee:
• María Encina Cortizo (Universidad de Oviedo)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
• Ramón Sobrino (Universidad de Oviedo)

Keynote Speakers:
• María Encina Cortizo (Universidad de Oviedo)
• Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)

The official languages of the conference are English, Spanish, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 3 February 2019*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of February 2019, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Symposium and Workshop: South African Opera Productions after the Apartheid

Venue: Universität Bayreuth

Date:   18th– 19th October 2018

Call for Papers:

Deadline: 15th August 2018

With the end of the Apartheid era, opera – stigmatized as ‘eurocentric opera’ – became a symbol of Western dominance/colonial imposition and seemed to be dead in South Africa.

But in fact, especially the so called ‘indigenous opera’ ‘flourishes’ as something of an anachronism and can be assessed as ‘black empowerment’ (Naomi André 2018).

The writing of a historiography of opera productions in South Africa although has academically just shortly started (Donato Somma 2016; Hilde Roos 2013, 2010; Martina Viljoen 2006) and is confronted with problems of different natures: political structures, post-colonization, globalization, unstable artistic standards and institutional relations.

The ‘bloom’ of opera presents itself neither through regular performances nor through crowded theatre halls. This is a consequence of the difficult political relations of artistic production in South Africa, which are among others characterized by a lack of funding and the re-organization of the Performing Arts Councils/ National Arts Councils. The existing significant multiple theatricalities of South Africa are thereby not having a platform to present themselves. The market pressure results often in overseas productions financing the few performances in the country itself. Thereby putting itself on risk to confirm with their opera productions transferred expectations of a South African identity rather than expressing an ‘authentic’ one.

This symposium will focus on South African Opera productions. Thereby the aim of the symposium is to represent the plurality of artistic concepts that deal in different ways with the multiple challenges of political and social transformation. How can opera in South Africa be involved in the process of societal transformation in a post-apartheid society? Which new artistic concepts are needed? How does themes for the libretti change? How did language, the style of composition and orchestration transform? Which new locations for performances are found to involve new audiences? How did the aesthetics change? And how are new media used either for a new aesthetic of performances, as with e.g. ‘Lamento’ (Umculo) or ‘U-Carmen eKhayelitsha’ (Isango Ensemble), or for marketing purposes?

For the first day of the symposium presentations shall focus on one opera productions. To ‘map’ the plurality of the field presentations are invited that cover one of the following topics.

  1. South African opera productions
  • Operas of different opera companies and composers
  • Different locations of opera performances (opera house, township, film)
  • Aesthetics of the opera opus itself
  • Analysis of compositions, libretti & performances

With Prof. Dr. Naomi André (University Michigan, USA), Dr. Donato Somma (University of Witwatersrand, SA) and Dr. Lena van der Hoven (among others) some experts in the field are invited. They will present on ‘Winnie – The Opera’ (Bongani Ndodana-Breen), ‘Princess Magogo’ (Opera Africa, Mzilikazi Khumalo), ‘Heart of Redness’ (Cape Town Opera, Neo Muyanga) and ‘Romeo’s Passion’ (Umculo, Cathy Milliken).

The workshop on the second day will cover transformation processes of Opera production in South Africa focusing on the following topics:

  • Opera institutions & opera companies
  • Finances/ Funding
  • Audiences
  • Marketing
  • Political impact

Abstracts (max. 2000 characters) for 20 minutes papers along with the technical requirements for the talk and a short CV with contact details should be sent by 15th August 2018 to Lena van der Hoven (Lena.van-der-Hoven@uni-bayreuth.de). Contributions from both the humanities and social sciences are welcome (Musicology, Theatre Studies, History, Cultural Studies, Sociology). Early career researchers in particular are encouraged to contribute. The chosen speakers will be informed by 31th August 2018 and the conference programme published online at http://www.prof-musikwissenschaft.uni-bayreuth.de/de/index.html .

 

 

Opera as Institution: Networks and Professions (1700–1914)

An international conference jointly organized by the Universities of Graz and Salzburg 

November 23–24 2018
Department of Musicology, University of Graz, Meerscheinschlössl, Mozartgasse 3, A-8010 Graz

Conference BoardDaniel Brandenburg (University of Salzburg), Cristina Scuderi (University of Graz), Michael Walter (University of Graz), Ingeborg Zechner (University of Graz)

The performance of opera as musical genre demands specific institutional surroundings in order to provide the means for scenic and musical representation. Indeed operatic history, ranging from its beginnings in seventeenth-century Venice to today’s globalized opera industry, is intimately bound to the history of institutions. This conference aims to gather internationally renowned musicologists whose research focuses on the institutional histories of European opera from the eighteenth to the end of the “long nineteenth century”. The intention of the conference is not to understand operatic institutions as locally distinct and isolated organizations, but rather perceive them as part of a transnational operatic network. The specific design of the conference enables to bring historical developments and shifts into account, and will lead to a deeper understanding of transnational operatic practices throughout the centuries. In addition, it will facilitate an international scholarly exchange on a complex and multifaceted topic in music history.

Conference papers will cover French, Italian, English and German operatic institutions in Europe from the eighteenth to the “long nineteenth century” and address topics such as:

  • Production systems of French, Italian, English and German opera
  • Political, legal, economic and sociocultural surroundings influencing the institution of the opera and its international exchange
  • Professions in the business of opera (composers, singers, agents, impresari, orchestra musicians, dancers, stage designers, librettists, …)
  • Networks of exchange between operatic institutions and their protagonists

 

Participation in the conference is free of charge. For passive conference participants no advance registration is required.

For further information on the program see the conference website: http://www.institutionopera.sbg.ac.at

Rossini after Rossini: Musical and Social Legacy (1868-1918)

6a00d8341c684553ef019affbaa57b970c-piorganized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Lucca, Complesso Monumentale di San Micheletto
19 – 21 October 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is organizing the symposium «Rossini after Rossini: Musical and Social Legacy (1868-1918)», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 19 until Sunday 21 October 2018.

The influence of Rossini on his contemporaries has been and remains the subject of innumerable essays, conventions and publications. The story of the composer’s long life (1792-1868), initially focused on purely musical connections (Paganini, Giuliani,  Mercadante, Schubert, Donizetti, Bellini, Auber, Meyerbeer, Verdi, Offenbach, Bizet, just to name a few), has been expanded to include literary, philosophical and political dimensions (Stendhal, Balzac, Schopenhauer, Mazzini).
Less frequently investigated, however, is Rossini’s legacy as it unfolded during the second half of the nineteenth and early twentieth centuries. On the occasion of the 150th anniversary of the composer’s death the present conference focuses on the span of time corresponding more-or-less to the fifty years following 1868, almost to the threshold of the so-called Rossini Renaissance that, beginning in the early 1920s, generated renewed interest into the composer’s output, from the points of view of both performance and philology, and also helped to clarify the ambiguity of Rossini as a man.
Topics of investigation include, but are not limited to, the  following:

• Rossinian influences on operetta in Paris, Vienna, London and Italy;
• Rossinian influence on subsequent opera composers;
• the theory and practice of Operatic Singing;
• aspects of orchestration and instrumentation;
• stylistic and compositional legacy;
• treatises and biographical memoires;
• literature and poetry;
• reception;
• Rossini and the cinema;
• Rossini, the vocal chamber music and the popular song;
• Rossini’s iconography and portraiture;
• Rossini in politics, society and public opinion.

Programme Committee:

• Lorenzo Frassà (Centro Studi Opera Omnia Luigi Boccherini)
• Federico Gon (Universität Wien)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Arnold Jacobshagen (Hochschule für Musik und Tanz Köln)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speaker:

• Arnold Jacobshagen (Hochschule für Musik und Tanz Köln)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 29 April 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the midst of May 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

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.

2nd Transnational Opera Studies Conference

Bern 5 – 7 July 2017

Following the success of the first meeting (University of Bologna, 30 June-2 July 2015), the second Transnational Opera Studies Conference will be hosted by the University of Bern, at the Musikwissenschaftliches Institut, from 5 to 7 July 2017. Its name will therefore be: tosc@bern.2017

The Programme Committee will consist of:

Marco Beghelli (Università di Bologna), Céline Frigau Manning (Université de Paris-VIII), Anselm Gerhard (Universität Bern), Axel Körner (Univerity College London), Gundula Kreuzer (Yale University), Vincenzina C. Ottomano (Universität Bern), Arne Stollberg (Humboldt-Universität zu Berlin), Cristina Urchueguía (Universität Bern)

Anselm Gerhard and Vincenzina C. Ottomano will also serve as Conference organizers, assisted by Valeria Lucentini.

All are invited to take part, regardless of professional status. As with other events of this kind, participants and spectators will be required to pay for themselves; registration fees and other costs, however, will be kept as low as possible.

CALL FOR PAPERS

Submissions are invited on any subject related to opera and other forms of music theatre, including history, dramaturgy, libretto studies, philology, genesis, reception, voice studies, performer studies, performance practice, interpretation, the relationship between opera and society, between opera and other arts, opera and media, opera on film, and so on.  Preference will be given to proposals that explore issues, rather than simply offering descriptive accounts. Papers can be in German, English, French or Italian. Proposals must be submitted as a Word file (“.doc”, not “.pdf”), and must include the following:

– full name

– country and institution

– e-mail address

– abstract in no more than 350 words

Abstracts should include all information necessary to allow the Programme Committee to evaluate the argument, research findings and originality of the proposal, as well as its potential as a conference paper. Following acceptance, there will be an opportunity to change abstracts for publication in the conference programme. Proposals should be submitted as attachments by email to: tosc@musik.unibe.ch, by 31 October 2016. Everyone submitting a proposal will be sent a confirmation email; if this has not been received within five days, please resend the proposal.

All abstracts will be anonymized before being seen by the Programme Committee; you are requested not to include in your abstract any information that could reveal your identity (such as “As I have shown in my earlier article…”).

All those who have submitted a proposal will be notified of the outcome by 20 December 2016.

FEES

The costs of the conference are funded directly by the participants (speakers and those attending). The exact registration fee will therefore depend on the number of participants, and will be confirmed along with the notification of papers accepted; it will, however, be no more than €100, and will include three buffet lunches.

2nd Transnational Opera Studies Conference

tosc@bern.2017; 5 – 7 July 2017

e-mail: tosc@musik.unibe.ch

web site: http://www.musik.unibe.ch/forschung/tagungen/index_ger.html

 

Opera and the Greek World during Nineteenth Century

International Conference.  Corfu, Greece, 17-19 November 2017

2017 marks for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovas (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language.

The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organize the international conference entitled Opera and the Greek World during Nineteenth Century, which is going to take place in Corfu, Greece, on 17, 18 and 19 November 2017.

Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovas and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovas also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.

Given the above, the conference will not be confined solely to the lives and the works of the aforementioned composers, but it will focus on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. With these in mind, some indicative themes of the conference are proposed to be;

  • Spiros Samaras: life and work
  • Spiridon Xindas: life and work
  • Domenikos Padovas: life and work
  • The activities of the Italian opera troupes in the Greek areas (singers, musicians, impresarios, repertory etc)
  • The activities of the French opera troupes in the Greek areas
  • The activities of the Greek opera troupes
  • Opera in the Greek communities of Diaspora (Trieste, Odessa, Alexandria, Smyrna, Constantinople etc)
  • Opera in the Greek urban centres
  • Institutions of operatic activity
  • The reception of opera in the Greek world
  • Subjects related to Greece in the 19th-century opera

The official languages of the opera are GreekItalian and English.

Scholars and researchers interested to participate in the conference are asked to submit their abstracts (250 words) and short biographical notes (100 words) for papers of no more than 20 minutes. Themed sessions of 60 minutes can also be proposed (Abstract of 450 words and Bios of 100 words).

There are no fees for the participation or the attendance of the conference.

The final date for the proposals’ submission is 31 December 2016.

The abstracts and the biographical notes should be sent until the above date in the following email: operaconfcorfu2017@gmail.com
The Official website of the conference is: http://users.ionio.gr/~GreekMus/operaconf2017/eng.htm
The conference’s programme will be finalized by 1 March 2017.

Programme Committee
Prof. Haris Xanthoudakis
Prof. Anastasia Siopsi
A. Prof. Panos Vlagopoulos
A. Professor Avra Xapapadakou

Organizing Committee
Spiridon Padovas
Kostas Kardamis
Kostas Sambanis
Stella Kourbana
Alexandros Charkiolakis
Gerasimos Martinis

Operatic Geographies, Urban Identities

Faculty of Music, University of Oxford, 18-19 September 2014

Convenor: Suzanne Aspden, University of Oxford
Contact: ogui@music.ox.ac.uk
We have long recognised opera’s role in shaping cultural identities. But, despite opera’s obvious dramatisation of its cultural and (on occasions) physical environment, we have largely ignored the way in which its cultural work intersects with the urban geography it usually inhabits. Indeed, given opera’s inherent association with the growth – and growing importance – of urban life, developing an understanding of the genre through the lens of cultural geography seems vital work.  This conference will examine the genre’s interaction with its cultural and (largely urban) physical environment over the 400 years of its existence in Europe, and its expansion across the globe, considering in particular how changes in genre and environment have intersected.
Registration: £35, £15 student/unwaged