Find Academic Supervisors

Christoph WagnerView profile

Lecturer

• Lighting Design
• Theatre Technology
• Scenography
• +3 more

Christoph Wagner is a Lecturer in Lighting at the Royal Conservatoire of Scotland, where he has been employed since 2012. He holds a PhD (part-time) in scenography jointly from the Royal Conservatoire of Scotland and the University of St. Andrews, focusing on technological advancements in lighting design and archival methodologies since 1960. His research involves the Francis Reid Archive, Glyndebourne Opera archives, and practitioner interviews. Education: Graduated with distinction from Queen Margaret University College in Edinburgh, completed a Postgraduate Certificate in Teaching Higher Arts Education, and is pursuing his PhD. Research interests revolve around the intersection of technology and lighting design, particularly how innovations shape artistic expression and archival practices. He explores how historical lighting techniques are preserved and revived through modern digital tools, with a focus on operatic productions and archival documentation. Professional work includes lighting design for diverse theatre genres (devised theatre, cabaret, corporate events) across international stages, including the Tron Theatre, Soho Theatre, Tokyo Metropolitan Theatre, and The Arches. Notable projects include Hamlet , Victory , One Green Bottle , and collaborations with comedians like Eddie Izzard and Catherine Tate. His technical contributions are praised for enhancing dramatic storytelling through lighting, such as creating atmospheric tension in How To Act Around Cops and guiding audiences through narrative journeys in Victory .

• Modern History
• Cultural History
• European Court Societies
• +5 more

Pauline Lemaigre-Gaffier is a Lecturer in Modern History at the University of Versailles Saint-Quentin-en-Yvelines (UVSQ), affiliated with the Institute of Cultural and International Studies (IECI) and the Department of History. She co-leads the VoCriPat project (2023–present) and participates in the DIM PAMIR committee (2022–present) and ANR ACADEC project (2022–present). Her research focuses on European court societies (festivals, ceremonies, urban interactions) Cultural history (material culture, documentary writings) Political history (public finance, administrative practices) Economic history (privileges and businesses) Heritage sciences Her 15 most recent publications explore topics like archival practices in early modern Europe French court administration of the arts economic networks of privileged enterprises royal household logistics spanning 2015–2024, with upcoming works on economic history and heritage sciences in 2025. She has received the Benabou Prize (2012) and was a Thiers Foundation scholarship holder (2009–2010) . Her career includes editorial roles at Entre-Temps (2021–2023) and educational management for the 'Music, Performance, and Heritage' degree (2014–2016). She collaborates with institutions like the Centre de recherche du Château de Versailles and the Heritage Sciences Foundation.

Claudia LehmannView profile

Professor

• Film Art
• Visual Communication
• Video Installation
• +7 more

Claudia Lehmann is a University Professor of Film Art & Visual Communication at the Institute for Open Arts, Department of Scenography at Mozarteum University Salzburg. She has been a professor at Mozarteum University since 2019 and previously served as a visiting professor at the Berlin Weissensee Art Academy. As a faculty member, she contributes to the Institute management, teaches as a Teacher, and serves on the Curricular Commission. Dr. Lehmann holds a doctorate in physics (Dr. rer. nat.) with her dissertation "GAUGE COVARIANT MULTISCALE ANALYSIS OF COMPLEX SYSTEMS" published through DESY-Publications in 2004. Her academic journey reflects a unique interdisciplinary trajectory from scientific research to artistic practice. Claudia Lehmann's research interests center around the intersection of art and science, with particular focus on perception, reality, and systemic phenomena. Her work spans documentaries, feature films, music videos, art videos, installations, and performances, constantly searching for new forms and formats. She develops visual concepts, video stage sets, and unique live video performances, often in collaboration with Nicolas Stemann. Through her work, she explores diverse possibilities for new structures, especially in the form of artistic collaboration. Her recent artistic output shows a consistent trend toward interdisciplinary work that blends theater, film, and digital media. Lehmann frequently collaborates with Nicolas Stemann and Konrad Hempel, creating innovative performances that integrate video technology with traditional stagecraft. Her work often addresses social and political themes while experimenting with form and presentation. The Institute for Experimental Affairs (IXA), which she co-founded with Konrad Hempel, serves as a platform for exploring the interfaces between science and art through various projects and research initiatives. Dr. Lehmann has received several prestigious awards for her work: Samsung Smartfilm Award 2013 Shocking Shorts Award 2007 Nomination for German Documentary Film Music Prize 2013 Nomination for Studio Hamburg Young Talent Prize for Best Screenplay As an educator and researcher, Lehmann has developed numerous collaborative projects and performances that have been featured at major international festivals including the Berlin International Film Festival, Leipzig Documentary Film Festival, and various theater festivals. Her work with IXA represents a significant research initiative at the intersection of science and art. Lehmann co-founded the Institute for Experimental Affairs (IXA) with visual artist and composer Konrad Hempel. Through IXA, she conducts research and realizes projects at the interfaces between science and art. Her collaborative work spans theater productions, film projects, and interactive installations that have been presented at venues including the Schauspielhaus Zürich, Münchner Kammerspiele, Opéra Comique Paris, and various international festivals.

John SevernView profile

Research Fellow

• Theatre Studies
• Opera
• Shakespeare
• +4 more

Dr. John Severn is a Research Fellow at Macquarie University's Department of International Studies: Languages and Cultures. His career spans academia, law, and translation, with a focus on theatre internationalization, Shakespearean adaptation, and community engagement. Education: PhD in Theatre Studies and English, University of New South Wales MA(Hons) in Shakespeare and Theatre, University of Birmingham LLB(Hons) in Law and French, University of Edinburgh Postgraduate Diploma in Legal Practice, University of Edinburgh BA(Hons) in Theatre Studies and Opera Studies, University of Manchester/Rose Bruford College CertHE in Scottish Gaelic language and culture, University of the Highlands and Islands His research explores theatre and internationalization through opera, musicals, and Shakespearean adaptation. He investigates how performing arts foster inclusive/exclusive communities and addresses barriers to participation. His work intersects European cultural history, arts policy, and transnational practices. Recent publications highlight trends in Shakespearean operatic adaptation, Australian theatre censorship, and decolonial processes in performance. His co-edited works include The Routledge Companion to Theatre and Internationalization and Theatre and Internationalization: Perspectives from Australia, Germany, and Beyond . Dr. Severn collaborates with institutions like the University of Sydney, University of New South Wales, and the Goethe-Institut Australia. He founded the research cluster 'Staging Migration in Berlin' and co-organizes international conferences on theatre internationalization.

Naomi MatsumotoView profile

Professor

• Opera Studies
• Music History
• Baroque Period
• +4 more

Dr. Naomi Matsumoto is a Reader in Music at Goldsmiths, University of London , specializing in opera studies, music historiography, and Baroque performance practices. She serves as Convenor of the Integrated Degree in Music and International Admissions Tutor, bridging academic administration with research leadership. Key affiliations: Royal Musical Association, Society for Seventeenth-Century Music, Japan Musicological Society Fellowships: Royal Society of Arts, Royal Historical Society Research Interests include: Operatic madness from Monteverdi to Donizetti Baroque performance conventions and manuscript studies Transnational reception of Western opera in Japan Interdisciplinary work with medical history and cultural studies Her publications focus on Lucia di Lammermoor , Carmen , and Madama Butterfly , examining their cultural adaptations and diagnostic representations. Recent projects explore Wagner's influence on Japanese theatre and Bess of Bedlam's identity crisis. Scientific Awards : Overseas Research Scholarship British Federation of Women Graduates Award Gladys Krieble Delmas Foundation Award Daiwa Anglo-Japanese Foundation Award Japan Society for the Promotion of Science Award Royal Musical Association Prize As an educator , she supervises areas in 17th-19th century Italian opera, intercultural reception studies, and Baroque performance. She contributes to critical editions and liner notes for major musical releases.

• Composition for Screen
• Film Music
• Opera
• +3 more

Dimitri Scarlato serves as Area Leader in Masters Programmes in Composition for Screen and Doctoral Supervisor at the Royal College of Music's Faculty of Composition. Holding a Doctorate in Composition from the RCM (2014) alongside prior studies at Guildhall School of Music & Drama (2004) and Rome's Conservatorio di Musica S.Cecilia, he maintains active roles in academic leadership and doctoral supervision while continuing professional creative work. His research spans film composition, opera, and contemporary classical music with specialized focus on screen-based media. Key interests include soundtrack production techniques, cross-cultural narrative scoring, and innovative vocal composition for modern contexts. His work integrates academic rigor with industry practice through film scores, operatic productions, and multimedia performances that bridge traditional and contemporary forms. Scarlato's recent creative output demonstrates consistent thematic development in audiovisual storytelling, with increasing sophistication in emotional resonance and cultural contextualization across film and opera formats. His projects frequently explore Italian cinematic traditions while incorporating international perspectives from collaborations at venues like Berlinale Talent Campus and Royal Opera House. 2nd Prize, Opera Harmony Digital Opera Festival (2020) for 'A Life Reset' Award for Soundtrack to Short Film 'Intolerance' (2021) RCM Rising Star Selection (2010) As Doctoral Supervisor, Scarlato guides emerging composers through rigorous academic and creative development, emphasizing practical industry integration. His professional engagements include conducting premieres of contemporary operas across Europe and high-profile collaborations such as coaching Sir Michael Caine for the film 'Youth' (2015). Current projects focus on expanding composition techniques for digital media platforms while maintaining strong connections to traditional performance venues.

Michael BurdenView profile

Professor

• Opera Studies
• Music History
• Dance Performance
• +3 more

Professor Michael Burden is a Fellow in Music at New College, University of Oxford, and Professor of Opera Studies. His research focuses on the history of the London stage (1660–1860), emphasizing opera staging techniques, dance performance, and Henry Purcell’s music. A former Duff Cooper Literary Prize judge, he has directed Oxford’s New Chamber Opera and co-founded the Oxford Dance Symposium. Education: BA/MA from University of Adelaide; PhD from University of Edinburgh. Leadership: Past President of the British Society for 18th-century Studies, Visitor of the Ashmolean Museum, and RISM Trustee. His publications include studies on Shakespearean adaptation in opera, dance iconography, and libretto interventions. He co-edits the complete Stradella and John Eccles editions and leads the ongoing London Stage Project 1800–1900 , aiming to document 19th-century theatre calendars. Collaborative work includes the Oxford-Princeton grant on historical performance practices in London and New York. Scientific awards include his role as a Duff Cooper Prize judge, though no personal honors are listed. His teaching spans music history from Medieval to 21st-century, with specializations in opera historiography and analysis.

Katharina ThomaView profile

Professor

• Opera Directing
• Classical Music
• Scenic Arts
• +3 more

Prof. Katharina Thoma is a renowned opera director currently serving as Head of the Opera School at the University of Music Würzburg . She also holds the positions of Deputy Chair of the Music Academy and Dean of Studies . With a career spanning major European opera houses including the Royal Opera House Covent Garden and Glyndebourne Festival, she specializes in blending historical accuracy with modern theatrical innovation. Studied piano at Lübeck University of Music Resident director at Dortmund Opera (2011-2014) Visiting professor at Graz University of Music (2018) Freelance director since 2008 Katharina Thoma's research and practice focus on opera stage direction , scenic training for singers , and historical opera interpretation . Her work spans from Baroque masterpieces to contemporary political operas, emphasizing: Contextual authenticity in period-specific productions Modern reinterpretation of classical works Interdisciplinary approaches to staging Integration of visual and musical elements Training of next-generation opera performers Exploration of war-related themes in opera Notable productions include: 2024: Johann Strauss' The Bat (University of Music Würzburg) 2023: De Falla's El retablo de Maese Pedro 2022: Britten's The Rape of Lucretia 2019: Schönberg's Pierrot lunaire 2007: European Opera Directing Competition Finalist Her artistic contributions have been recognized with: Second Prize at the European Opera Directing Competition 'Camerata Nuova' (2007) Katharina Thoma actively mentors young singers and develops innovative opera productions at the University of Music Würzburg's Opera School. Her recent work includes: Wagner operas debut (2019/20 season) Collaboration with composers like Richard Jones and Christof Loy Participation in renowned festivals (Munich Biennale, Glyndebourne) The Opera School under her leadership focuses on comprehensive training combining: Historical performance practices Contemporary staging techniques Technical vocal training Interdisciplinary collaboration

• Vocal Music
• Historical Performance Practice
• Lieder
• +4 more

Andrew Foote is an Associate Professor at the Conservatorium of Music, University of Western Australia. He holds roles as Chair of the Board of Studies (Design and Creative Arts), Chair of Vocal Studies, and Academic Integrity Officer (Music). Previously served as Director of the West Australian Symphony Orchestra Chorus (2019-2024) and Vocal Coach (2014-2018). Education: Doctor of Musical Arts (2020), University of Western Australia Research focuses on Schubert's Winterreise, historical performance practices in Baroque and Renaissance eras, and vocal pedagogy. Active in professional opera performances, including a Helpmann Award-winning role in Peter Grimes (2010). Specializes in German Lieder, crossover cabaret, and business leadership coaching. Recent performance projects include WA Opera's Pirates of Penzance (2025), Die Fledermaus with WASO (2025), and Beethoven's 9th Symphony (2024). Known for innovative choral direction and inter-disciplinary collaborations. Awards: UWA FABLE Teaching Award (2020), multiple student teaching accolades Leads vocal ensembles like Symphonic Chorus of UWA and Concordia Vocalis. External roles include ANCA National Councillor (2023-2024) and WA President of the Australian National Choral Association.

Andreas GigerView profile

Professor

• 19th-Century Music
• Musicology
• Italian Opera
• +6 more

Andreas Giger is the Louise & Kenneth L. Kinney Professor of Opera & Musicology at Louisiana State University (LSU), within the College of Music & Dramatic Arts. He holds a Licentiate in Musicology from the University of Zurich, a Piano Teaching Diploma from Winterthur Conservatory, and a PhD in Musicology from Indiana University. His research focuses on 19th-century Italian opera, particularly Giuseppe Verdi and the influence of French aesthetics, as well as Leonard Bernstein's work. Notable achievements include authoring Verismo (2004) and Verdi and the French Aesthetic (2008), the latter supported by a National Endowment for the Humanities (NEH) Fellowship. He has edited critical editions of Verdi’s operas ( I due Foscari , Cavalleria rusticana ) and co-edited Music in the Mirror (2002), which earned an ASCAP Deems-Taylor Award. He serves on editorial boards of Nineteenth-Century Music Review and co-edits Masterpieces of Italian Opera for Bärenreiter. Giger’s articles explore topics such as Verdi’s libretti, censorship of 19th-century operas, and the genesis of Leoncavallo’s Pagliacci . Recent projects include NEH-supported critical editions of Un ballo in maschera and Cavalleria rusticana . His work bridges historical musicology, textual analysis, and performance practice. Grants: Multiple NEH Fellowships and grants for critical editions. Awards: ASCAP Deems-Taylor Award (2002). He collaborates with institutions like Bärenreiter and the University of Chicago Press, advancing scholarly editions and operatic studies.

David WalshView profile

Associate Professor

• Opera Production
• Stage Direction
• Opera History
• +2 more

David Walsh is Associate Professor and Director of Opera Theatre at the University of Minnesota School of Music. With extensive international opera experience, he has served as Production Stage Manager for the Canadian Opera Company and Scottish Opera, Assistant Artistic Director for Vancouver Opera, and Head of Production for Scottish Opera. His directing credits span Europe and North America, including productions at Paris Opera, English National Opera, Bad Hersfeld Festival, and the first Wagner opera production in China. Notable collaborations include work with Nikolaus Lehnhoff, Seiji Ozawa, and Sir Simon Rattle. His specialties include opera history, contemporary operatic literature, and production management.

• Music Composition
• New Opera
• Musical Theatricality
• +3 more

Dr Catherine Kontz is a London-based composer and professor at the Royal College of Music, specializing in nonlinear forms, visual/spatial elements, and musical theatricality in contemporary composition. She serves as a Doctoral Supervisor and is currently an artist-in-residence at King's College London's Engineering Department. Born 1976 BMus (Hons), MMus, PhD from Goldsmiths Her research spans: Audio technology applications in composition Multimedia operatic productions Site-specific sound installations Interdisciplinary collaboration strategies Cultural synthesis in musical theatre Temporal experimentation in performance Her work has been performed by prestigious ensembles and artists including Solistes Européens Luxembourg, BBC Scottish Symphony Orchestra, ensemble recherche, Exaudi, and Naomi Woo. Current projects include collaborative research with Professor Zoran Cvetkovic exploring audio technologies and human intelligence processes. Notable achievements: Shortlisted for Quattropole Music Prize Commissioned for European Capital of Culture program Doctoral research connecting Deleuzian theory with mime opera Regular Tête-à-Tête opera festival participant Director of multimedia opera productions Academic contributions include: Supervising doctoral composition students Developing interdisciplinary research projects Teaching contemporary composition techniques Creating large-scale collaborative works Advancing audio technology applications Mentoring emerging composers

Robert HenkeView profile

Professor

• Early Modern Theater
• Comparative Literature
• Dramatic Theory
• +4 more

Robert Henke is a Professor of Drama and Comparative Literature at Washington University, serving as Director of Graduate Studies for the M.A. in Performance Studies. He holds a PhD from the University of California, Berkeley. His research focuses on Ancient and Renaissance Theater, Comparative Literature, and Dramatic Theory, with a particular emphasis on early modern theatrical networks, commedia dell’arte, and the interplay between performance and literature. Current projects include studies on Shakespearean-Italian dramatic connections, transnational theater networks, and a performance-centered sourcebook on commedia dell’arte. Henke has authored three monographs: *Pastoral Transformations: Italian Tragicomedy and Shakespeare’s Late Plays* (1997), *Performance and Literature in the Commedia dell’Arte* (2002), and *Poverty and Charity in Early Modern Theater and Performance* (2015). He co-edited volumes such as *Transnational Exchange in Early Modern Theater* (2008) and *Transnational Mobilities in Early Modern Theater* (2014), and has contributed extensively to journals and edited collections. His work explores themes like orality in performance, genre hybridity, and the cultural mobility of theatrical forms. Henke’s research highlights the interconnectedness of early modern European theater traditions, examining how performance practices, texts, and ideas circulated across borders. His recent articles analyze topics ranging from commedia dell’arte’s influence on Shakespeare to the material and spatial dimensions of Renaissance theater spaces. He is also editing the early modern volume of *A Cultural History of Western Theatre* (Bloomsbury Academic). His publications reflect a commitment to interdisciplinary approaches, blending literary analysis with performance studies, cultural history, and material culture. While no specific grants or awards are listed, his extensive editorial and monographic output underscores his leadership in early modern theater scholarship. His academic advising and institutional roles at Washington University further highlight his contributions to training the next generation of performance studies scholars.

Krzysztof CicheńskiView profile

Assistant Professor

• Interdisciplinary Art
• Opera Direction
• Scenography
• +3 more

Krzysztof Cicheński is an interdisciplinary artist, academic lecturer, and opera director affiliated with the Faculty of Interior Design and Scenography at Magdalena Abakanowicz University of Arts in Poznań (UAP). Since 2025, he holds the rank of Assistant Professor at the Department of Scenography, where he teaches courses such as 'Selected issues in the history of theatre and drama' and 'Introduction to directing.' Education : Doctoral degree in art (visual arts and art conservation) from UAP (2024); Inter-Faculty Interdisciplinary Studies in Humanities (Master's) at Adam Mickiewicz University in Poznań (2005–2010). His artistic practice merges opera direction, playwright, libretto writing, set design, and sound art. He specializes in interdisciplinary performances that blend spatial activities, sound installations, and operatic installations, often exploring themes like forgotten works, historical narratives, and socio-cultural commentary. Notable projects include the 2024 opera Wedding (libretto and direction), the 2023 interdisciplinary Landscape , and the 2022 research-based performance The Devil's Wheel , which interrogates the ontological status of lost artworks. His work frequently involves collaborations with institutions like the Zbigniew Raszewski Theatre Institute and Grand Theatre in Warsaw. Scientific Awards : Scholarship of the Ministry of Culture and National Heritage (2024, 2020) Scholarship of the Marshal of the Wielkopolska Voivodeship (2013) He co-founded the Automaton Theatre (2005–2018) and has taught at institutions including Adam Mickiewicz University and the Academy of Music in Poznań. His projects are supported by programs like 'Placówka,' which funds innovative theatrical explorations.

• Opera
• Classical Singing
• Vocal Pedagogy
• +3 more

Christoph Strehl is a Professor of Singing at the Mozarteum University in Salzburg, specializing in vocal studies and opera training since 2013. A renowned tenor, he has performed internationally with major opera houses and orchestras, collaborating with conductors like Claudio Abbado and directors including Claus Guth. His career spans key roles in Mozart operas (Don Ottavio in Don Giovanni , Tamino in The Magic Flute ), Beethoven's Fidelio , and Schubert's Fierabras . He has recorded extensively for labels like Deutsche Grammophon and EMI, with notable albums including Die Zauberflöte (2007) and Das Paradies und die Peri (2008). His teaching emphasizes creative process integration and vocal technique, supported by masterclasses with luminaries such as Axel Bauni and Norman Shetler. Education: Studied at Folkwang University (Essen) with Soto Papulkas and privately with Silvana Bazzoni-Bartoli in Zurich. Professional milestones include a 9-year tenure at Zurich Opera House (2002-2011) and Salzburg Festival debuts in 2003 and 2019. Active in recitals with pianists like Helmut Deutsch and Pauliina Tukiainen.