Find Academic Supervisors

Piotr MaciejowskiView profile

Assistant Professor

• Vocal Studies
• Solo Singing
• Opera
• +4 more

Piotr Maciejowski is an Assistant Professor at the College of Vocal Studies, Paderewski Music Academy in Poznan, Poland. He earned his Doctor of Arts degree in 2021 from the Chopin University of Music in Warsaw, specializing in solo singing under Prof. Jerzy Knetig. His professional role involves teaching and performance-based research. Education: Doctor of Arts, Chopin University of Music, Warsaw (2021) Graduate of Poznan University of Music in the class of Prof. Wojciech Maciejowski His research and performance focus spans vocal studies, with extensive experience in operatic and oratorio-cantata genres. Maciejowski collaborates with prominent orchestras including the Polish Radio National Symphony Orchestra, Wrocław Philharmonic, and Sinfonia Varsovia. His repertoire features iconic works like Bach's Passions, Mozart's Masses, Handel's Messiah, and Penderecki's Credo. He has worked with renowned conductors such as Łukasz Borowicz, Sylvain Cambreling, and Jerzy Maksymiuk. His professional development includes masterclasses with Neil Schicoff, Matthias Rexroth, and Sergei Leiferkus. Maciejowski is currently employed at the College of Vocal Studies, Poznan, and has previously participated in the Young Talents Training Program "Opera Academy" at the Grand Theatre – National Opera in Warsaw (2013–2018).

• Opera
• Vocal Performance
• Early Music
• +3 more

Artur Stefanowicz serves as Associate Professor at the Fryderyk Chopin University of Music in Warsaw within the Vocal and Acting Department (Department of Vocal Studies). An acclaimed countertenor, conductor, and director, he co-founded the Opera Institute—a collaborative venture between the Theatre Academy, Academy of Fine Arts, and Fryderyk Chopin University. His international career spans major venues including Deutsche Staatsoper Berlin, Glyndebourne Opera Festival, Teatro Liceo Salamanca, and New York City Opera. He graduated from the Fryderyk Chopin Academy of Music in Warsaw (1991) under Professor Jerzy Artysz, with advanced training under Paul Esswood and Professor Jadwiga Rappé. In 2013, he attained habilitation, cementing his academic credentials. Stefanowicz's research centers on historically informed vocal performance, specializing in Baroque opera repertoire. His expertise drives innovative interpretations of Handel, Vivaldi, and Monteverdi works, bridging scholarly rigor with theatrical vitality. As both performer and director, he champions authentic reconstructions of early operatic practices while mentoring new generations of artists. His accolades include the prestigious Venanzio Rauzzini Mozart Competition first prize (Vienna, 1990) and second prize at 's-Hertogenbosch International Vocal Competition (1991), highlighting his exceptional artistry. Mentoring vocal students at the university level, Stefanowicz has guided graduates including Kacper Szelążek, Michał Sławecki, and Rafał Tomkiewicz. Since 2017, as music director of the Opera Institute, he has spearheaded landmark productions: Monteverdi’s La Coronation of Poppea , Handel’s Rodelindo , Cavalli’s Il Giasone , and the 2018 world premiere of Stradelli’s Il Trespolo tuttore (released on DUX DVD).

• Vocal Performance
• Opera
• Music Education
• +3 more

Aleksander Teliga is a Professor and Lecturer at the Fryderyk Chopin University of Music, Białystok Branch, within the Faculty of Instrumental-Pedagogy, Music Education and Vocal Studies. Renowned as one of Europe's leading bass opera singers, his career spans major international venues including La Scala, Bolshoi Theatre, and Royal Danish Opera House. His educational background includes: Master's degree in vocal performance from the M. Lysenko Conservatory in Lviv Doctoral degree from the Karol Szymanowski Academy of Music in Katowice (2003) Professor title awarded by the President of Poland (2022) Teliga's research and professional focus centers on vocal performance and opera interpretation, with expertise in over 70 bass roles across Verdi, Moniuszko, and Russian repertoire. His work emphasizes classical singing techniques, dramatic interpretation of bass characters, and preservation of Polish operatic traditions. He actively contributes to vocal pedagogy through academic teaching and masterclasses. His distinguished accolades include: Grand Prix at the 12th Russian Glinka Competition (1987) Two Golden Mask awards (1991, 1993) Arion Statuette for artistic and teaching achievements (2008) Silver Gloria Artis Medal (2017) International Classical Music Awards (2013) University Merit Medal (2022) As an educator since 2015, Teliga mentors vocal students while maintaining an active international performance schedule. His artistic collaborations with conductors like Barenboim and directors including Treliński demonstrate his dual commitment to academic instruction and stage artistry. Current engagements include roles at Moscow's Bolshoi Theatre and Warsaw's National Opera.

Lisa Anderson BongersView profile

Lecturer

• Stage Management
• Opera Production
• Theater Direction
• +3 more

Lisa Anderson Bongers serves as an Instructor of Stage Management at the University of Missouri-Kansas City (UMKC) Conservatory, leveraging over 30 years of experience as a leading operatic stage manager across U.S. and European institutions including San Francisco Opera, Washington National Opera, and major orchestras. She earned dual degrees in theater and video/film production from UMKC, forming the foundation for her interdisciplinary career spanning live performance and media production. Her expertise centers on stage management for large-scale opera and theater productions, with notable work on world premieres like John Adams' Doctor Atomic and Francesca Zambello's Ring Cycle . She integrates multimedia techniques across performance domains, having collaborated with the New York Philharmonic, San Francisco Ballet, and Alvin Ailey Dance Company while contributing to PBS Great Performances and theatrical film releases.

• Piano Performance
• Music Pedagogy
• Chamber Music
• +4 more

Eva Doris Moizi is a Professor at the Faculty of Music, Music and Arts Private University of the City of Vienna, where she has been affiliated since 2002. Her academic background includes piano studies at Klagenfurt State Conservatory, instrumental pedagogy at the University of Music and Performing Arts Vienna (now MUK), and accompaniment training in Vienna. Education: Piano studies under Prof. Hriwa, instrumental pedagogy with Adrian Cox, and accompaniment training with Johannes Kropfitsch, David Lutz, and Prof. F. Fanning. Positions: Accompanist at MUK (since 2002), accompanist at Hainburg Music School (2002-2004), and accompanist at Institute of European Studies Vienna (1998-2002). Her research interests align with her practical expertise in piano performance, vocal/operatic accompaniment, and chamber music collaboration. She has worked extensively with orchestras like the Vienna Philharmonic and Carinthian City Theater Orchestra, participating in international competitions such as Prague Spring and Gradus ad Parnassum. Scientific awards and honors include: Multiple prizes at Prima la Musica competitions 1999 Special Prize from the Club Carinthia Moizi has contributed to music education through accompaniment roles in solo/chamber music concerts, summer courses for string/wind instruments, and competition jury support across Austria and abroad.

• Organ Performance
• Harpsichord Performance
• Orchestral Conducting
• +5 more

Jerome Preysinger is a Visiting Professor at the Music and Arts Private University of the City of Vienna's Faculty of Music since 2004. His academic career spans multiple institutions and roles in conducting, musicology, and pedagogy. Education: Bachelor's studies at Carleton University (1980-1984), majoring in organ, musicology, and composition Graduate studies at McGill University (1985-1989), focusing on musicology and conducting Concurrent studies at Concordia University (1986-1988) in organ and harpsichord Postgraduate Kapellmeister training at Franz Liszt Academy of Music (1990-1992) Research and Teaching Interests: Jerome Preysinger's work integrates organ performance, harpsichord studies, orchestral and choral conducting, and operatic coaching. His career reflects expertise in both classical and historical performance practices. Professional Highlights: He has held diverse roles including teaching positions at McGill University and Franz Liszt Academy of Music, music directorship of the McGill Savoy Operetta Society, conducting roles in Germany and Brazil, and long-term artistic leadership at Christ Church Vienna and Volksoper Vienna.

Oliver Peter GraberView profile

Professor

• Neuromusic Theory
• Brain and Music
• Interdisciplinary Structural Research
• +5 more

Oliver Peter Graber is a University Professor for Artistic Research at JAM MUSIC LAB Private University and heads the Research Institute for Music Medicine with a focus on Arts for Health. His work bridges composition, concert piano, music theory, and ballet dramaturgy, emphasizing interdisciplinarity through collaborations with scientific research centers and institutions like the University of Basel and Vienna State Opera. Key research areas: Piano & Brain Health , Functional Composition in Clinical Use , and algorithmic composition via artificial intelligence. Collaborations: Vienna State Ballet, Interdisciplinary Platform for Chronobiological Research (IPCF), and ensemble "PhiliTango". His projects involve sonification of scientific data and exploring how music interacts with neuronal plasticity and clinical applications. Scientific publications and artistic-scientific collaborations include works like "Il flauto magico still works: Mozart's secret of ventilation" (2013), co-authored with Klaus-Felix Laczika and others.

• Music Composition
• Computer Music
• Interactive Systems
• +3 more

Tod Machover serves as Professor of Music and Media at the Massachusetts Institute of Technology (MIT) Media Lab since its founding in 1985, and concurrently as Visiting Professor of Composition at the Royal Academy of Music since 2006. Renowned as 'America's most wired composer,' he pioneered Hyperinstruments technology in 1986 and directs MIT's Hyperinstruments and Opera of the Future research groups. His educational foundation includes studies with Elliott Carter and Roger Sessions at The Juilliard School, followed by serving as the first Director of Musical Research at Pierre Boulez’s IRCAM in Paris. Machover’s creative philosophy breaks traditional boundaries through innovative syntheses: acoustic and electronic sound, symphony orchestras with interactive computers, and operatic arias fused with rock elements. His work spans music composition, computer music, and interactive systems, emphasizing audience participation and technological augmentation of human expression. Major recognitions include: Chevalier de l’Order des Arts et des Lettres (French Culture Ministry) Steinmetz Prize from the IEEE (2007) World Technology Award for the Arts (2010) Awards from Fromm Foundation, Koussevitzky Foundation, and National Endowment for the Arts His compositions receive continuous support through commissions from leading global ensembles and soloists. As MIT lab director, he mentors researchers in developing next-generation musical interfaces while securing funding from cultural ministries and major foundations. The Hyperinstruments and Opera of the Future groups under his leadership explore AI-driven performance systems, collaborative city-wide operas, and instruments that translate physical gesture into complex musical output, positioning Machover at the vanguard of 21st-century music creation.

Claude BUCHVALDView profile

Lecturer

• Theatrical Writing
• Poetic Writing
• Classical Literature
• +4 more

Claude BUCHVALD is a Lecturer in the Theater Department at the University of Paris VIII in Saint-Denis. Her academic and artistic work, spanning since 1976, focuses on theatrical and poetic writing across historical eras—from ancient epics and Classical Greek tragedies to contemporary texts—with a strong emphasis on orality and spatial dynamics in performance. She has directed plays such as Valère Novarina’s Le Repas (1996), L'Avant-dernier des hommes , and L'Opérette imaginaire (1998), as well as Paul Claudel’s Tête d’or . Her operatic direction includes Rossini’s La Cenerentola (2000), Mozart’s Les Amours de Bastien-Bastienne (2002), and Mozart’s Le Directeur de théâtre and Salieri’s Prima la musica (2006) at the Conservatoire National Supérieur de Musique. Collaborations with artists like Alfred Jarry, François Rabelais, and Laurence Equilbey underscore her interdisciplinary approach. Academic Affiliation : University of Paris VIII (Theater Department) Teaching Focus : Speech and voice, singing, and poetics of space at the Conservatoire National Supérieur de Musique Key Collaborations : Puig-Lonsdale company, Théâtre du Campagnol with David Copperfield, and projects with Chekhov, Apollinaire, and Fernando Pessoa’s works Notable Productions : Morderegrippipiotabiro (2003), Les Amours de Bastien-Bastienne (2002), and Prima la musica (2006)

• Singing
• Song genre
• Vocal Performance
• +3 more

Sabina Martinaitytė is a Professor at Vytautas Magnus University's Music Academy in the Singing Department. With 75 documented publications primarily in musical composition and vocal performance, she maintains an active career in both performance and music education. Her work spans over a decade with significant output between 2012-2021. Her research interests focus on singing techniques, song genres, and vocal performance practices. Martinaitytė specializes in Lithuanian folk music interpretation, classical repertoire, and contemporary vocal works, with particular emphasis on national musical heritage. Her work bridges traditional Lithuanian music with contemporary performance practices. Analysis of her recent publications reveals a strong focus on opera performance, particularly Mozart's works like "Figaro vedybos" (The Marriage of Figaro), alongside Lithuanian folk song collections and original vocal compositions. Her research demonstrates consistent exploration of vocal expression across multiple genres including art songs, operatic works, and traditional Lithuanian music. She maintains a significant collaborative relationship with Audronė Eitmanavičiūtė, with whom she celebrated 30 years of pedagogical work at the university. Their joint concert "Kiek atiduoti tiek tavęs ir lieka" highlights their long-standing professional partnership in music education. Professor Martinaitytė's performance career includes numerous concerts, opera productions, and song recitals that showcase both Lithuanian musical heritage and international repertoire. Her work as both performer and educator has contributed substantially to vocal music education at Vytautas Magnus University.

• 18th-Century French Literature
• Scientific Dialogue
• Relations Between Science, Philosophy, and Literature
• +5 more

Fabrice Chassot is a Lecturer in 18th-century French literature at Toulouse Jean Jaurès University, affiliated with the School of Heritage, Literature, and History (PLH) and the Department of French Language and Literature. His research focuses on scientific dialogues, civility/sociability, and the intersection of science, philosophy, and literature during the Enlightenment. Education: Sciences Po Paris (1998), Agrégation de Lettres Modernes (1999), PhD in French Literature, University Paris 4 Sorbonne (2008) His work examines the popularization of science through figures like Fontenelle, Pluche, and Diderot, analyzing how knowledge was disseminated via dialogues and literary forms. Recent publications explore incivility narratives, satirical misanthropy, and adaptations of Molière. Key trends in his 2022–2024 articles include Enlightenment pedagogy, theatrical critique, and interdisciplinary approaches to science and literature. He actively participates in conferences on civility, satire, and knowledge distribution.

Anke Hájková EndresView profile

Lecturer

• Classical Singing
• Opera
• Choral Music
• +3 more

Anke Hájková Endres is a voice lecturer at the University of Music Würzburg, where she teaches singing in the Singing Department within the School of Music. She also coaches the male voices of the Würzburg Boys' Choir at the Würzburg Cathedral Music. She studied singing with Prof. M. Bürgener at the Würzburg University of Music and Performing Arts, graduating with an opera and concert diploma. Her education was further enhanced through master classes with E. Kirkby, A. Rooley, H. Hotter, and Prof. I. Hallstein. As a lyric coloratura soprano, her performance interests focus on classical singing, opera, choral music, and new music. She maintains a repertoire of over 30 operatic roles and performs major works of oratorio literature. Her artistic work increasingly explores contemporary compositions, and she regularly collaborates with the Zeiher Quartet in chamber music settings. Finalist, Belvedere Vienna Competition in operetta (2000) Award from the local theater's association (2002) Scholarship from the Würzburg Wagner Association Prior to her current teaching position, she was a permanent member of the Mainfrankentheater Würzburg from 2000 to 2007, where she performed roles including Olympia, Gilda, Gretel, Queen of the Night, and Donna Anna. Since 2007, she has worked as a freelance singer while maintaining her teaching position. In 2012, she performed the role of "Monnica" in R. Hiller's "Augustinus" at the Würzburg Cathedral Music's birthday concert for Pope Benedict XVI at his summer residence in Castel Gandolfo, Rome.

• Vocal Performance
• Music Pedagogy
• Opera

Albrecht Pöhl is a lecturer at the University of Music Würzburg (HfM Würzburg) within the Department of Singing. His academic work focuses on vocal performance and pedagogy, aligning with the university's mission to advance artistic and educational excellence in music. He is part of the teaching faculty for singing, operatic school, and song interpretation, contributing to both bachelor's and master's programs. His consultation hours are available by appointment, indicating active engagement with students.

Rasmus VuoriView profile

Lecturer

• Digital Art
• Interactive Media
• Performance Art
• +3 more

Rasmus Vuori is a Lecturer at Aalto University's School of Arts, Design and Architecture, contributing to education and research in digital art, performance design, and tactile technology. His work intersects artistic practice with institutional analysis, as seen in his 2024 audit report on the University of the Arts Helsinki. Education: Master's degree in Arts and Design from Helsinki University of Arts and Design (2004). Vuori's research explores the fusion of technology and art, focusing on interactive media, video projections, and antifascist bodybuilding projects. His artistic outputs often involve collaborative co-productions with institutions like Aurinkoteatteri and Kansallisteatteri. Recent publications include Laulujoutsen (2024) and The Re-Invention of Self (2022). His work aligns with the UN Sustainable Development Goals for Education, emphasizing academic innovation and accessibility. Scientific Awards: Aalto Education Impact Award (2022) Rajapinta Award for Master's Thesis Supervision (2018) Thalia Palkinto for Theatrical Work (2017) Vuori supervises Master's students and participates in academic networks, including juries for the Nordic Data Journalism Conference and ISEA symposiums. His artistic co-productions highlight Finnish cultural narratives through multimedia installations.

• Opera Performance
• Theater Movement
• Dance
• +3 more

Kate Flatt is a movement director, choreographer, and director at the Royal College of Music (RCM) International Opera School. She works with Opera Studio singers to enhance bodily awareness, reduce tension, and develop theater movement and dance skills for performance. Her career spans major UK opera productions including Turandot, Aida, and Carmen. RCM International Opera School Contact Her research interests intersect with opera performance, physical theater, and stagecraft, emphasizing the integration of movement and vocal expression in operatic contexts. Recent awards include recognition as a Rayne Foundation Fellow, Churchill Fellow, and an OBE in 2020 for contributions to the arts. Kate collaborates closely with vocal and opera departments, bridging physical expression and musical interpretation.