Charles S. Brauner (Roosevelt University, Chicago)
Charles S. Brauner is Professor Emeritus of Music History and Literature, Chicago College of Performing Arts, Roosevelt University. He is editor of the critical editions of Rossini’s Mosè in Egitto and (with Patricia B. Brauner) Armida (Fondazione Rossini, Pesaro, 2004 and 1997, respectively). His study of the sources of the libretto of Armida is volume 7 of the series I libretti di Rossini (Fondazione Rossini, 2000). He has published articles on Monteverdi, Rossini, Bellini, and the lieder of Schubert and Schumann. His latest publication is ‘Reconstructions’ in the Oxford Handbook of Opera (Oxford University Press, 2014).
Patricia B. Brauner (Works of Gioachino Rossini)
Patricia B. Brauner was until 2006 a member of the Editorial Committee of the Edizione critica delle opere di Gioachino Rossini (Fondazione Rossini) and from 2006 to 2011 the Managing Editor of Works of Gioachino Rossini (Bärenreiter-Verlag) and Coordinator of the Center for Italian Opera Studies at the University of Chicago. She is editor of critical editions of Rossini’s Il barbiere di Siviglia and the cantatas La riconoscenza / Il vero omaggio and co-editor of five other volumes of his works, including the Petite Messe solennelle (with Philip Gossett), which received the 2010 Claude Palisca Award of the American Musicological Society for a scholarly edition or translation. She has taught music history at Connecticut College, Loyola University of Chicago, and Roosevelt University, as well as seminars in music editing for the Fondazione Rossini in Pesaro, Italy, and the Université François-Rabelais in Tours, France.
Damien Colas (Centre National de la Recherche Scientifique)
Damien Colas is a Directeur de recherche at the Centre national de la recherche scientifique (CNRS, Paris). In his doctoral dissertation, he published a collection of vocal variations and cadenzas written down by singers on their performing materials at both the Opéra and the Théâtre-Italien. His research on the French repertory of Rossini led to the discovery of unpublished music by the composer. His critical edition of Le comte Ory (Bärenreiter, Works of Gioachino Rossini, 2014) received the award of Best Edition from the Deutsche Verleger-Verband (German union of publishers). His critical edition of Le siège de Corinthe, with nearly 500 unpublished measures, was heard for the first time at the Rossini Opera Festival (Pesaro) in 2017. Colas has also published a volume dedicated to Il viaggio a Reims in the libretto series of the Fondazione Rossini (2012), and is currently preparing the volume on Semiramide.
Sarah Hibberd (University of Bristol)
Sarah Hibberd is Stanley Hugh Badock Chair of Music at the University of Bristol, and previously taught at the University of Nottingham. Her research focuses on opera and other forms of lyric drama in Paris and London c.1789–1850, and her publications include French Grand Opera and the Historical Imagination (Cambridge, 2009), a variety of journal articles, three edited volumes, and a guest-edited special issue of 19th-Century Music devoted to Science and Music in London and Paris (2015). Sarah is currently completing a monograph, French Opera and the Revolutionary Sublime, which comes out of an AHRC-funded fellowship. She is incoming co-editor of the Cambridge Opera Journal.
Arnold Jacobshagen (Hochschule für Musik und Tanz, Cologne)
Arnold Jacobshagen is professor of musicology at the University of Music and Dance Cologne (since 2006), and has taught at the universities of Bayreuth and Vienna. He is the author of the books Gioachino Rossini und seine Zeit (Laaber-Verlag, 2015, second edition 2018) and Opera semiseria: Gattungskonvergenz und Kulturtransfer im Musiktheater (Franz Steiner Verlag, 2005). On behalf of the German Musicological Society, he was editor of the journal Die Musikforschung (from 2012 to 2017). He has published a number of books and many articles on eighteenth- and nineteenth-century music and opera.
Daniela Macchione (Works of Gioachino Rossini)
Daniela Macchione serves as the Managing Editor of Works of Gioachino Rossini, the series of critical editions published by Bärenreiter Verlag of Kassel. Her collaboration with the edition of Rossini’s music started in 2001 under the direction of the late Philip Gossett, with whom she co-edited the forthcoming volume of WGR, Vocal Chamber Music. Together with Martina Grempler, she also co-edited the inaugural volume of WGR, Chamber Music without piano (2007). After earning her PhD in musicology at the University of Rome 1 – La Sapienza (2004), she spent one year as a visiting scholar in the Music Department of the University of Chicago. Since 2006 she has been serving as a research consultant for the Center for Italian Opera Studies (also at the University of Chicago), where she is the principal investigator for the OperaCat project. This is a long-term database project which aims to collect information on all autographs of Rossini, Donizetti, Bellini, Verdi, and Puccini that were put on sale on the antiquarian market since the 1840s. The database will be available through the server of the Regenstein Library of the University of Chicago. Her essay on the aesthetics of collecting opera was published in The Oxford Handbook of Opera, ed. by Helen M. Greenwald (2014). She prepared the critical edition of Niccolò Paganini’s 24 Capricci per violino solo op.1 and 24 Contradanze (first printed edition) published by Bärenreiter in 2013. She was commissioned to write an essay on the fortune of 24 Capricci for the catalogue of the exhibition Paganini Rockstar (Genova, 2018). She teaches History of Music in Italian Conservatoires.
Reto Müller (Deutsche Rossini Gesellschaft)
Reto Müller, born in Basel (Switzerland) in 1964, is a collector and private scholar, who has devoted himself to Rossini for almost 40 years. Since 1991 he has been an adviser and research associate of the festival Rossini in Wildbad (in the Black Forest). He works as a freelancer for the Fondazione Rossini in Pesaro: Since 2011 he has been a member of its scholarly advisory board and is involved in its edition of Rossini’s Lettere e documenti. As Executive Chairman of the German Rossini Society he is the editor of its yearbook La Gazzetta and of the series Operntexte, in which his translations of the Rossini libretti are published. Recently he has written the entry about Rossini for the Dizionario Biografico degli Italiani.
Alberto Rizzuti (Università degli Studi di Torino)
Alberto Rizzuti (Turin, 1963) is Professor of Music at the University of Turin, where he obtained a Degree in Humanities in 1988. He also holds a PhD in Musicology from the University of Chicago (2001). He has taught at the Universities of Udine (1994-2000) and Genoa (2002-04). In the latter he worked while already serving at the University of Turin (2000-). At the University of Turin he directed the graduate program in Comparative Literatures and Cultures (2010-2016), and in 2017 he began directing the doctoral program in Humanities.
His activity as a scholar has been mainly focused on art music in the Western world between the seventeenth and nineteenth centuries. In 2012 he founded, and has since directed, the online journal Gli spazi della musica. Since 2014 he has served as Associate General Editor of Works of / Opere di Gioachino Rossini (Kassel: Bärenreiter, 2008-). In 2017 he founded, and has since directed, the Centro Studi sul Teatro Musicale in the Department of Humanities at the University of Turin.
Among his recent works are the critical edition of Giovanna d’Arco (in Works of Giuseppe Verdi, Chicago – Milan: University of Chicago Press – Ricordi, 2008), and the monographs Fra Kantor e Canticum: Bach e il Magnificat (Alessandria: Edizioni dell’Orso, 2011), Sotto la volta celeste: Beethoven e l’immaginario pastorale (Rome: Aracne, 2014), and Musica sull’acqua: Fiumi sonori, fontane magiche e mari in tempesta da Händel a Stravinskij (Rome: Carocci, 2017).
Antonio Rostagno (Sapienza – Università di Roma)
Antonio Rostagno is Professor of Musicology at the Università di Roma ‘La Sapienza’, where he is coordinator of Second-Level Studies in Musicology.
Fields of interest: music in Dante – Dante reception in music history, music and composers in Eighteenth-Century Rome, German music in the Romantic age (in particular Schumann and Wagner), Italian opera (in particular Verdi and Donizetti), theory of musical historiography.
His more recent publications include
- Scrittori in musica , ed. with S. Tatti (Rome: Bulzoni, 2015)
- ‘”Mia ebbrezza intrava per l’udire”: Intellectus e percezione nell’esperienza musicale della terza cantica’, in Dante fra il settecentocinquantenario della nascita e il settecentenario della morte, ed. by E. Malato and A. Mazzucchi (Rome: Salerno, 2016)
- Kreisleriana di Robert Schumann (Rome: NeoClassica, 2016)
- ‘Conducting style in the “New Italy”: from Boito to Toscanini’, in Maestro! Dirigieren im 19. Jahrhundert, ed. by A. Jacobshagen (Cologne: Königshausen & Neumann, 2017)
- ‘Attila: Verdi and Gioberti’, FVJournal 1/2018, pp. 99-107
John Snelson (Royal Opera House, Covent Garden)
John Snelson is Head of Interpretation at the Royal Opera House, where he has been involved in publishing and marketing of the operatic repertory for more than 17 years. Prior to that he was a Senior Internal Editor for and contributor to the revised New Grove Dictionary of Music and Musicians (2001). He is an Honorary Research Fellow in the Music Department at the University of Nottingham.
John studied at the universities of Nottingham, Reading, and Birmingham (PhD). He researches, writes, and lectures on opera and musical theatre; his books include Andrew Lloyd Webber (Yale University Press, 2004), The Ring: An Illustrated History of Wagner’s Ring at the Royal Opera House (Royal Opera House/Oberon Books, 2006), and How to Enjoy Opera (Oberon Books, 2016). Among his most recent publications are contributions to Musical Theatre in Europe 1830–1945 (Brepols, 2017) and Opera Quarterly.
Luca Zoppelli (Université de Fribourg)
Luca Zoppelli is Full Professor of Musicology at the University of Fribourg (Switzerland). He is co-editor of the Edizione critica delle opere di Vincenzo Bellini (Ricordi) and editor of the Schweizer Jahrbuch für Musikwissenschaft/Annales suisses de musicologie.
Zoppelli has published critical editions of works by Donizetti and Bellini; he is the author of L’opera come racconto (Venice: Marsilio, 1994) and several articles on Baroque musical aesthetics, nineteenth-century Italian opera, and Richard Wagner. He is currently working on a monograph on Gaetano Donizetti.