Conference Program

5th Transnational Opera Studies Conference


July 6-8, 2023

Universidade Nova de Lisboa

Colégio Almada Negreiros

Rooms A224, A223 & 219

Thursday, July 6

Colégio Almada Negreiros

13:30 – 14:00: Welcome & Registration

14:00 – 14:30: Opening Session (A224)

14:30 – 15:30: Keynote address (A224)

Rogerio Budasz (University of California, USA), Opera and Abolitionism in Nineteenth-Century Brazil

15:30 – 16:00: Coffee break

16:00 – 18:00:  Panels I, II & III

Panel I: The Futures of Wagner (A224)

Moderation: Paulo Ferreira de Castro (Universidade Nova de Lisboa, Portugal)

  • Carolyn Abbate (Harvard University, USA), Wagnerian Biochemistries
  • Anno Karl Maria Mungen (University of Bayreuth, Germany), Hitler’s Bust of Richard Wagner: Arno Breker, War, and Genocide
  • Oliver Puckey (Cambridge University, UK), Futurity in Richard Wagner’s Early British Reception
  • Mauro Fosco Bertola (Universitä Tübingen, Germany), Trauma and Dreams in Kaija Saariaho’s and Amin Maalouf’s Adriana Mater

Panel II: Beyond Coloniality (A223)

Moderation: Ligiana Costa (Dramaturg, Theatro Municipal de São Paulo and Festival Amazonas de Ópera, Brazil)

  • Katharina N. Piechocki (University of British Columbia, Canada), The Colonial Libretto: Global Poetics and Multilingualism in Early Seventeenth-Century Roman Opera
  • Francesco Milella (Cambridge University, UK), Paisiello’s Barbiere: an Italian zarzuela in colonial Mexico
  • John Gabriel (University of Melbourne, Australia), Columbus, Catholicism, and Colonialism in Central European Opera circa 1930
  • Joshua Tolulope David (University of Toronto, Canada), Beyond (Re)presentation: An Analysis of Opera Productions in Lagos, Nigeria

Panel III: Performing Gender and Politics (219)

Moderation: Emanuele Senici (La Sapienza University of Rome, Italy)

  • Barbara Gentili (Cardiff University, UK), Between Reception and Production: the Transnational Representation of the Singing and Acting New Woman
  • Asli Kaymak (University of Bristol, UK), Guillaume Tell in London: Hofer’s Female Army
  • Molly C. Doran (Wartburg College, USA), Staging Women’s Trauma on the Twenty-First Century Operatic Stage: Exploitation vs. Ethical Engagement
  • Harriet Boyd-Bennett (University of Nottingham, UK), Opera, Workers, and Song: Towards a Turin Cantology

18:30 – 19:30: Concert (Salão Nobre)

Concert by Músicos do Tejo (with Luzo-Brazilian repertoire).

Friday, July 7

Colégio Almada Negreiros

9:00 – 11:00:  Panels IV, V & VI

Panel IV: Between Stage and Screen (A224)

Moderation: João Pedro Cachopo (Universidade Nova de Lisboa, Portugal)

  • Giuliano Danieli (La Sapienza University of Rome, Italy), Carmine Gallone’s Casta Divaand the Italian Composer Biopic, 1935-1954: Pastiche, History and Affect
  • Kunio Hara (University of South Carolina, USA), Madama Butterfly Across Time and Space: Yōko Kanno’s Soundtrack to Magnetic Rose (1995)
  • Daniele Peraro (La Sapienza University of Rome, Italy) “Immediate” and “Direct” Performances? Live Singing on Set in Damiano Michieletto’s film Gianni Schicchi (2021)
  • Mara Lane (University of California, USA), Opera Caught on Camera

Panel V: Across the Atlantic (A223)

Moderation: Rogerio Budasz (University of California, USA)

  • Charlotte Bentley (Newcastle University, UK), 1898 on The Musical Stage: The Spanish-American War in Transnational Perspective
  • Joana de Almeida Peliz (Universidade Nova de Lisboa, Portugal), A “true féerie”: Antunes/Machado’s Venusand Some Transnational Dimensions of Luso-Brazilian Musical Theatre in the Long 19th Century
  • David Cranmer (Universidade Nova de Lisboa, Portugal), Portuguese Opera and Metastasio Adaptations in Portugal and Brazil: Paradigms, Sources and Performance Options

Panel VI: Staging Race and Violence (219)

Moderation: Arman Schwarz (University of Notre Dame, USA)

  • Helena Kopchick Spencer (University of North Carolina Wilmington, USA) Sexual and Racial Violence in Henri Justamant’s Ballet Divertissements for Les Huguenotsand Robert le Diable
  • Siel Agugliaro (Università di Pisa, Italy), “Trionfo dell’Arte Italiana”? The U.S. Premiere of Cavalleria Rusticana Between Racial Anxieties and Ethnic Pride
  • Christine Fischer (Ludwig-Maximilians-Universität Munich, Germany) The Cabildo: Hybridization and National Identities in Amy Beach’s Chamber Opera
  • Allison Chu (Yale University, USA), Staging Documentary Ambiguity: The Institutional Critiques within An American Soldier (2018) and The Central Park Five (2019)

11:00 – 11:30: Coffee break

11:30 – 13:00: Roundtables I & II

Roundtable I: Opera in the Digital World: Activism, Popular Culture and Design (A224)

  • Jane Forner (University of Toronto, Canada)
  • Sofija Perovic (Faculty of Contemporary Arts, Belgrade)
  • Tijana Trailovic (Scenographer, Serbia)

Roundtable II: European Opera as Informal Empire: Perspectives on Latin America (A223)

Moderation: Paulo Kühl (Universidade Estadual de Campinas, Brazil)

  • José Manuel Izquierdo (Pontificia Universidad Católica de Chile)
  • Megan Estela (Université Paris 8, France)
  • Charlotte Bentley (Newcastle University, UK)
  • Alessandra Jones (Indiana University, USA)

13:00 – 14:30: Lunch break

14:30 – 16:30:  Panels VII, VIII & IX

Panel VII: Identity and Politics in Italy (A224)

Moderation: Benjamin Walton (University of Cambridge, UK)

  • Cormac Newark (Guildhall School of Music & Drama, UK), Identity Politics and Opera in Italy: Torrefranca and d’Amico
  • Jean-François Lattarico (Université Lyon 3, France), L’amante democratico: Opéra jacobin et identité nationale en Italie (1792-1799)
  • Taryn Dubois (Yale University, USA) A Modern Amor: Nationalism and Musical Embodiment in Italian Theatrical Dance

Panel VIII: Body, Voice, Memory (A223)

Moderation: Jelena Novak (Universidade Nova de Lisboa, Portugal)

  • Sarah Fuchs (Royal College of Music, UK), Emma Calvé’s Digital Afterlife
  • Natalija Stankovic & Stefan Savic (University of Arts & Institute of Musicology SASA, Serbia), How Much Body is There in the Voice? The Comparative Analysis of Maria Callas’s and Sondra Radvanovsky’s Portrayals of Luigi Cherubini’s Medea
  • Jingyi Zhang (Harvard University, USA), Interrogating Operatic Decolonization in the Hypermobility Turn: Sweet Land (2020) and Twilight: Gods(2020-21)
  • Colleen Renihan (Queen’s University, Canada), Operatic Syncopations: Embodiment as Memory in Contemporary Canadian Opera

Panel IX: Queering Opera (219)

Moderation: Paula Gomes-Ribeiro (Universidade Nova de Lisboa, Portugal)

  • Jessica Gabriel Peritz (Yale University, USA), The Queer Musical Temporality of Vernon Lee
  • Devon J. Borowski (University of Chicago, USA), Only her Wigmaker Knows for Sure, or Is the Castrato Camp?
  • Jessica Sipe (Yale University, USA) “Three Brides, Tender and Pure”: Deviant Sexuality in Heinrich Marschner’s Der Vampyr

16:30 – 17:00: Coffee break

17:00 – 18:00: Tosc@ Award Winner’s Address

Parkorn Wangpaiboonkit (Washington University in St. Louis, USA), The Idea of Opera in Siam: From Civilizational Emblem to the Invention of the Thai Race

18:15: Handover Session: Announcement of the Host for the 6th TOSC@

20:30 – 22:00: Film Screening (Gulbenkian)

Philippe Béziat’s Traviata et nous [Becoming Traviata] (2012)

Saturday, July 8

Colégio Almada Negreiros

9:00 – 11:00:  Panels X, XI & XII

Panel X: Form and Affect (A224)

Moderation: Carolyn Abbate (Harvard University, USA)

  • Arman Schwartz (University of Notre Dame, USA), The Modernist Short Opera
  • Zachary Lee Nazar Stewart (Yale University, USA), What happened to Mère Marie?
  • Chikako Kitagawa (Keio-University Tokyo, Japan), Horizon Opening or Problem Field? Realisations of the Noh Theatre in Operas by Kaija Saariaho and Toshio Hosokawa

Panel XI: Experiments and Mediations (A223)

Moderation: Gabriela Cruz (University of Michigan, USA)

  • Jasmin Goll (University of Bern, Switzerland), Mediating Opera and Technology. Operatic Transmissions by Telephone in Late Nineteenth-Century Berlin
  • Johanna Danhauser (University of Bayreuth, Germany), Island Kinships: A Spectacle Analysis of Archipelby Fujimoto/Thiersch/Muntendorf based on Donna Haraway
  • Mauro Calcagno (University of Pennsylvania, USA), Performance, Heterochrony, Historiography: The Wooster Group’s 2007 Production of Busenello-Cavalli’s La Didone(1641) and Baroque Opera Representation
  • Emanuele Senici (La Sapienza University of Rome, Italy), “The Whole Theatre as the Set, All of It”: Screening the Rome Opera During the Pandemic

Panel XII: Issues of Text and Performance (219)

Moderation: David Cranmer (Universidade Nova de Lisboa, Portugal)

  • Inori Hayashi (Ochanomizu University, Japan), Minor Changes in the Autograph Score of the Revised Simon Boccanegra by G. Verdi: Melodies Toward Natural Speaking Tone
  • Sarah Hibberd (University of Bristol, UK), The Dynamics of the Puritani Quartet: Tamburini in the Limelight (1836)
  • Guido Olivieri (University of Texas at Austin, USA), Su alcuni “segreti” de Il matrimonio segretodi Domenico Cimarosa

11:00 – 11:30: Coffee break

11:30 – 13:00:  Themed Sessions I, II & III

Themed Session I: Listening Through Callas: Mediations and Metamorphoses (A224)

Respondent: Ginger Dellenbaugh (Yale University, USA)

  • Emilio Sala (Università degli Studi di Milano, Italy), Lip-syncing to Callas
  • Michal Grover-Friedlander (Tel-Aviv University, Israel), Callas’s Voice-overs
  • Martha Feldman (University of Chicago, USA), Tough Magic: Callas’s Rebetiko, Greek Suffering, and the Unsentimental

Themed Session II: Nineteenth-Century Italian Opera Far From Europe (A223)

Moderation: Monica Ruocco (Università di Napoli L’Orientale, Italy)

  • Céline Frigau Manning (Université Lyon 3, France), “Sick of the Old World’s Sophistry!”: Performing Italian Opera at Sea in 1825
  • Maeva Meyer (Université Lyon 3, France), Verdi’s Aida From the Perspective of the Egyptian Nahda
  • Megan Estela (Université Paris 8, France), “The Goddess From Beyond the Seas:” Challenging the Reception of Patti’s Four Tours in America (1886-1890)

Themed Session III: Opera, Its Audiences and Recipients Between 17th and 18th Century (219)

  • Vera Grund (Musikwissenschaftliches Seminar Detmold/Paderborn, Germany), “From the shores of the Tevere to those of the Adriatic”: Venetian Opera as Euergetism and mass culture
  • Carlo Bosi  (Fachbereich Kunst-, Musik- und Tanzwissenschaft, Universität Salzburg, Austria), Early Venetian Opera beyond the Lagoon: Reception and Censorship
  • Carlo Bosi & Vera Grund, Arias, music and their recipients

13:00 – 14:30: Lunch break

14:30 – 16:30:  Panels XIII, XIV & XV

Panel XIII: The Case of Callas (A224)

Moderation: Giorgio Biancorosso (University of Hong Kong)

  • Shadi Seifouri (Cambridge University, UK), “Je Veux Vivre!”: Operatic Holograms, Maria Callas, and The Limits of Liveness
  • Lea Luka Tiziana Sikau (Cambridge University, UK), The Artist is Present, la Callas is Absent: (No) Rehearsing with Posthumous Divas
  • Jane Sylvester (University of Missouri-Kansas City, USA), Callas on the Catwalk: Operatic Revival in the House of Valentino
  • Marie-Anne Kohl (University of Bayreuth, Germany), Die Vokalperformance von Maria Callas als Geschlechterperformanz, dargestellt an ihrer Tosca-Interpretation

Panel XIV: The Nation and the Empire (A223)

Moderation: Kordula Knaus (Universität Bayreuth, Germany)

  • Claudio Vellutini (University of British Columbia, Canada), Opera, Mobility, and Austrian Cultural Policies after the Congress of Vienna
  • Liisamaija Hautsalo (University of the Arts Helsinki, Finland), From Nationalized opera to Vernacularised Opera: The Finnish Case
  • Tanya Sirotina (The University of Winchester, UK), “The Lucky Miller”: Two Centuries of Historical Collisions Between Three Unique Operas

Panel XV: Challenging the Stage (219)

Moderation: Manuel Deniz Silva (Universidade Nova de Lisboa, Portugal)

  • Collin Ziegler (University of California, USA), Opera and Trees
  • Helena Langewitz (Johannes Gutenberg University Mainz, Germany), Migrations of the Garden as a “Schau-Ort” for the Opera in 18th Century. Stage Design Motifs and the Idea of the Garden Venue in Motion
  • Francesca Vella (Northumbria University, UK), Artisans of the Theatre: Set Design in 1930s Florence
  • Anne Le Berre (École Normale Supérieure de Lyon, France), The Festival international d’art lyrique d’Aix-en-Provence: the idea of a lyrical Mediterranean in the 21st century

16:30 – 17:00: Coffee break

18:00 – 19:00: Keynote address (Teatro Nacional de São Carlos)

Tereza Havelkova (Charles University, Czech Republic), Opera and (Post-)Colonialism: A View from East-Central Europe

19h00-19h15: Final remarks and announcement of the winner of the TOSC@Lisboa.2023 Junior Scholar Award