W. Richard (Dick) Cantwell served as Professor of German at Carleton College from 1965 until his retirement in 1993. He initiated the department’s overseas seminar in Germany and directed Off-Campus Programs from 1979–1983. Known for his passionate teaching style, Cantwell specialized in German literature, Romanticism, and cultural history. His courses on 19th-century literature and German opera/Lied were particularly popular. Post-retirement, he taught through the Cannon Valley Elder Collegium. His academic contributions extended to theater, including roles with the Northfield Arts Guild and coaching student productions. Colleagues and students remembered him for his lively enthusiasm, such as dramatizing literary figures like Klopstock and fostering deep engagement with German culture. No scientific awards are explicitly listed, though his legacy includes impactful teaching and curriculum development. No grants or specific advising records are detailed in the text. Cantwell collaborated with theater groups and maintained interdisciplinary interests, blending literature with performing arts. A memorial service was held on November 8, 2014, honoring his contributions.
Alla Voskoboynikova is an Associate Teaching Professor of Music and Director of Keyboard Studies at the University of Missouri-St. Louis (UMSL). She holds a Bachelor’s in Piano Performance from Voronezh Music College (Russia) and a Master’s from Moscow’s Gnessins Academy of Music. Her career includes solo performances at Carnegie Hall and collaborative work with the St. Louis Symphony Orchestra and Union Avenue Opera Company. She has organized cultural exchange concerts in Russia and directs UMSL’s Summer Keyboard Camp. Education: Voronezh Music College (BA, 199?), Gnessins Academy (MA, 1996) Research focuses on piano pedagogy, chamber music collaboration, and Russian/Ukrainian musical heritage. Notable projects include Shostakovich’s 100th-anniversary recitals and Mendelssohn bicentennial performances. She actively mentors students in competitions and international tours. Recent performances include collaborations with Arianna String Quartet, Stella Markou, and Christine Brewer. Her pedagogical approach emphasizes cultural exchange and interdisciplinary artistry, with students performing at major St. Louis venues like Touhill Performing Arts Center.
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.
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.
Harald Eikaas is a Norwegian conductor and academic leader currently serving as Dean of the Faculty of Performing Arts at the University of Stavanger. His career spans conducting, music education, and artistic production, with notable collaborations including the Bergen Philharmonic Orchestra and Ålesund Symfoniorkester. Positions: Dean, Conductor, Music Educator Institution: University of Stavanger (Faculty of Performing Arts) Specialties: Church music, orchestral performance, educational concert programming Research and Artistic Focus centers on conducting practices, church music education, and symphonic outreach for youth audiences. His work emphasizes interdisciplinary collaboration and cultural preservation through performances like Henry Purcell's opera Dido & Aeneas and liturgical concerts in Volda kyrkje. Publications and Performances highlight his diverse roles: from directing educational concerts for grades 4-6 to producing contemporary compositions by Luca Francesconi. His projects often blend classical repertoire with modern interpretations, such as Haydn's Skapelsen and NRK broadcasts of symphonic arrangements. Collaborations include partnerships with artists like Stefan Östresjö and institutions like the Swedish Navy Music Corps, demonstrating his commitment to bridging academic and performance-based music traditions.
Robert McQueen is a Lecturer at the Don Wright Faculty of Music, Western University, where he works as a director, dramaturge, and educator with extensive international experience across theatre and opera. His career spans commercial theatre, opera productions, and new play development throughout North America, Asia, and Europe. McQueen's research and professional focus centers on theatrical direction, dramaturgical innovation, and music theatre pedagogy. He has directed award-winning productions including Fun Home (2018 Toronto Theatre Critics Association Award winner) and Life After (2018 Dora Mavor Moore Award winner), alongside significant opera works for major companies like the Canadian Opera Company and Arizona Opera. His practice bridges classical repertoire with contemporary new works development. His notable professional awards include: Toronto Theatre Critics Association Award for Outstanding Direction (2018) for Fun Home Dora Mavor Moore Awards Outstanding Direction Award (2018) for Life After
Dr. hab. Klaudia Carlos-Machej is a Professor and has served as Dean of the Faculty of Dance at the Chopin Academy of Music in Warsaw (UMFC) since 2019. She holds dual doctorates as Doctor of Humanities and Doctor of Musical Arts, and is an accomplished dancer and choreographer specializing in Polish national dances. Her academic foundation includes a degree in ballet pedagogy from UMFC (1995), postgraduate studies in journalism at Adam Mickiewicz University in Poznań (2001), and Postgraduate Studies in Cultural Management at the Polish Academy of Sciences (2017). As a lecturer at UMFC since 1995, she served as Vice-Dean of the Faculty of Choral Conducting, Music Education, Church Music, Rhythm and Dance from 2012-2019 before becoming Dean. Professor Carlos-Machej's research focuses on dance education, Polish national dances, and the historical relationship between music and dance. Her work explores dance as cultural heritage, particularly during Poland's partition era, examining how traditional forms like polonaise, krakowiak, kujawiak, and oberek functioned as expressions of national identity. She has documented the influence of Russian classical dance traditions on Polish ballet education and investigated the philosophical dimensions of dance in antiquity. Her publications from 2014-2024 demonstrate consistent scholarly output, with her most recent work examining the relationship between dance and music during Poland's loss of statehood (1795-1918). She has also edited significant dance publications including comprehensive guides to Polish dances. As an educator and administrator, she has been conceptually responsible for the Polish Dance Forum since 2014, an important periodic event at UMFC that serves as a platform for dance scholarship and performance in Poland. Her professional background includes extensive performance experience as a dancer with the T. Sygietyński State Folk Song and Dance Ensemble 'Mazowsze' (1990-1995) and as a mime dancer and dance teacher at the Warsaw Chamber Opera (1996-2011), where she performed solo parts in numerous productions including works by Mozart, Telemann, Monteverdi, and Tchaikovsky. Additionally, Professor Carlos-Machej has maintained a parallel career in media since 1994 as a journalist and TV presenter across multiple Polish networks, creating programs that promote dance and music, including the Baletownik series on TVP Kultura featuring prominent Polish dancers.
Christopher Lee is Associate Professor of English at the University of British Columbia (Faculty of Arts) and Director of the Asian Canadian and Asian Migration Studies Program. His interdisciplinary work spans literary studies, critical race theory, and diaspora studies. Education: BA (Hons.), University of British Columbia MA and PhD, Brown University Lee's research focuses on Asian diaspora studies (particularly Asian Canadian and Asian American), critical race studies, transnational literary theory, and aesthetic philosophy. He examines Chinese diasporic writing during the Cold War, Asian Canadian visual culture, and racial capitalism's role in migration. His approach integrates post/anti/decolonial perspectives with global literary analysis. His recent publications (2015-2024) show deepening engagement with Chinese Canadian literary history, migration narratives, and kinship structures. Key trends include: analysis of Cold War cultural production, visual representations of migration, and theoretical interventions in racial capitalism and diaspora. Awards: literary criticism book award, Association for Asian American Studies (2012) Killam Research Prize (2015) As ACAM Director, Lee oversees a vibrant interdisciplinary program. His Killam Prize supports advanced research. While specific grant details are limited in the source, his leadership fosters collaborative projects on race, migration, and culture in Canada. The Asian Canadian and Asian Migration Studies Program under Lee's direction serves as a central hub for research, teaching, and community dialogue on Asian diasporas in Canadian contexts.
Sandor Ostlund is Professor of Double Bass at Baylor University's School of Music, where he chairs the Performance Department and directs the Instrumental Studies Division. An internationally recognized performer, he serves as Principal Double Bassist for the Waco Symphony, River Oaks Chamber Orchestra, and Chamber Orchestra San Antonio, while maintaining an active solo and chamber music career. His recent solo CD 'Leap of Faith' showcases his artistic contributions, and he has collaborated with prestigious ensembles including the Houston Grand Opera and Australian Chamber Orchestra. Studied at University of Wisconsin-Madison (BM) with Richard Davis Advanced degrees from Rice University (MM/DMA) under Paul Ellison Recipient of performance diplôme and teaching certificate from François Rabbath's International Institute of Double Bass As a dedicated educator, Dr. Ostlund has previously taught at West Texas A&M University and Shenandoah Conservatory. He plays a leadership role in the International Society of Bassists, serving as Chair of Competitions after multiple director board terms and editorial contributions.
Dr. Anita Rakoczy is an Associate Professor at Károli Gáspár University of the Reformed Church in Hungary, affiliated with the Faculty of Humanities and Social Sciences, Department of Art Studies and Art Pedagogy. Her academic credentials include a PhD in Modern English and American Literature from Eötvös Loránd University (ELTE, 2015) and multiple MA degrees in Hungarian/English literature and theatre dramaturgy from ELTE and the University of Theatre and Film Arts (SZFE). Her research explores Samuel Beckett's plays , Irish drama, documentary theatre, and performance analysis, with emphasis on textual genesis, cultural reception, and interdisciplinary adaptations. She has presented internationally on Beckett's Hungarian productions and contributed to major conferences like Staging Beckett at the University of Reading. Rakoczy's publications demonstrate consistent focus on Beckettian aesthetics across theatre, film, and opera. Her work intersects literary analysis, performance criticism, and cultural history, often examining post-Soviet interpretations and spatial metaphors in modernist drama. Awards & Grants: János Bolyai Research Scholarship (2023) ÚNKP Bolyai+ Scholarship (2023) Fulbright Scholarship (2011-2012, CUNY Graduate Center) Eötvös Scholarships (2013, 2018, University of Reading) Research Collaborations: Member of the Samuel Beckett Working Group (2016–), Rite-Theatre-Literature Research Group (2018–2020), and International Federation for Theatre Research. Organized the 2017 Samuel Beckett Conference and co-directed Fulbright 30 Gala (2022). Language proficiencies include advanced English (TOEFL/Cambridge), intermediate German, and basic Turkish.
Laura Pernice is a Researcher in Performing Arts at the Department of Humanities, University of Catania, where she teaches History of Theater and Entertainment, Performing Arts and New Media, and Forms of Multimedia Performance in the L-20 and LM-65 degree programs. She holds a PhD in Cultural Heritage and Production Sciences from the University of Catania and has obtained the National Scientific Qualification for Associate Professor in the sector 10/C1 (Theater, Music, Cinema, Television and Audiovisual Media). Her research focuses on interdisciplinary approaches at the intersection of theater studies and digital media. Key areas include multimedia performance, intermediality, contemporary Italian theater, and the integration of new technologies in opera and theatrical production. The recent publications and research projects indicate a strong trend in digital transformation in performing arts, especially in opera remediation, transmedia strategies, and social media use in theater. Her work explores how technology reshapes audience engagement and performance aesthetics. She has supervised multiple theses on topics such as streaming opera, digital dramaturgy, and transmedia musicals, reflecting her engagement with contemporary performance forms. Research grants and projects include the national 'Living Cabiria' (PNRR), the VIRTUA(*)RT project (Pia.ce.ri. 2024–2026), and prior involvement in the ARIE and PuppetPlays projects. Laura Pernice is a member of the research group for: VIRTUA(*)RT – Virtual Rooms for Arts (2024–ongoing) Living Cabiria – PNRR Spoke 2: Creativity and Intangible Cultural Heritage (2023–ongoing) ARIE – Audience, Remediation, Iconography, Environment in Contemporary Opera (2021–2023) PuppetPlays – ERC Advanced Grant (2019) She has also served on the editorial board of Arabeschi. International Journal of Studies on Literature and Visuality since 2015.
Professor David Francis Taylor is a Professor of English at the University of Oxford's Faculty of English Language & Literature, affiliated with St. Hugh's College. His expertise spans British literature and culture from the mid-17th to mid-19th centuries, with a focus on theatre, satire, oratory, and the cultural history of Shakespeare. He is a founding member of the R/18 Collective, collaborating with theatre practitioners to revive forgotten Restoration and 18th-century plays, particularly those by women playwrights. His recent project, the augmented reality app A Stage in Time , reconstructs Covent Garden Theatre's 1785 pantomime sets. Taylor has authored two books— Theatres of Opposition (2012) and The Politics of Parody (2018)—and co-edited The Oxford Handbook of the Georgian Theatre (2014). Current projects include a critical edition of Joseph Addison's Cato and a biography of satirical artist James Gillray. Research interests include the interplay of words and images in theatre, the aesthetics of theatrical space, and the socio-political role of performance. His work bridges academic scholarship and public engagement, evidenced by collaborations with theatre companies and digital humanities initiatives. Awards and fellowships are not explicitly mentioned, but his contributions to theatre history and cultural studies are widely recognized. Professor Taylor advises graduate students on topics related to 18th-century drama and has supervised numerous DPhil and Master's theses. He is actively involved in grant-funded projects exploring Georgian theatre archives and the revival of historical plays. His interdisciplinary approach integrates literary analysis with performance studies, visual arts, and digital technologies to illuminate the cultural significance of early modern theatre.
Wesley Savick is a Professor and Director of Student Programming at Suffolk University's Department of Theatre. He has held significant roles in prominent theatres, including Artistic Director of Theatre X in Milwaukee and interim Artistic Director of the Drama League of New York's Directors Project. His research interests span directing, playwriting, and adapting literature into theatre, with notable works like the political musical *one state, two state/red state, blue state* and an opera on Liberace. He has directed over 100 professional productions, primarily new works. Wes is a recipient of the Outstanding Teacher Award at Suffolk and the Bunka-cho Grant for studying Japanese theatre. He teaches courses such as Acting, Directing, and Playwriting, and founded The National Theatre of Allston to support Suffolk students transitioning to professional theatre. Education: B.A., Dartmouth College M.F.A., Boston University ABD, Northwestern University M.A., Marquette University Research Highlights: Focus on contemporary American theatre, political drama, and cross-cultural adaptations (e.g., Japanese theatre studies). Awards: Outstanding Teacher Award, Suffolk University Bunka-cho Grant (Japanese Ministry of Culture) Labs/Initiatives: Founded The National Theatre of Allston for student/alumni professional transitions.
Roger Parker is the Thurston Dart Professor of Music at the University of Cambridge, where he is also a Fellow of St John's College. He has previously held academic positions at Cornell University, Oxford University, and served as Professor of Music at Gresham College. His work is centered in the Department of Music within the School of Arts and Humanities, with a focus on 19th-century opera and music culture. PhD, King's College London BA, Goldsmiths College, University of London Roger Parker’s research primarily explores opera , with a strong emphasis on Italian opera of the 19th century , particularly the works and cultural impact of composers like Verdi, Donizetti, and Puccini. He investigates the intersections of music with politics, especially during the Risorgimento, and has recently turned his attention to music in 19th-century London . His methodological approach combines critical theory , archival research, and editorial scholarship, contributing to both academic discourse and performance practice. He is deeply engaged in reconstructing historical performance contexts and analyzing textual variants in operatic scores. The recent articles and books reflect a sustained engagement with critical editions of operas , the cultural mythology of composers , and the urban musical environment of 19th-century London . There is a clear trajectory from editorial scholarship (Donizetti, Puccini) to broader historiographical questions about how opera functions in society. Keywords across these works include opera, Risorgimento, autograph studies, critical theory, and cultural reception, indicating a scholar bridging musicology, history, and cultural studies. His scientific recognition includes: Premio Giuseppe Verdi (1986) Guggenheim Fellowship (1986–1987) Dent Medal, Royal Musical Association (1991) Fellow of the British Academy (2008) Vice-President, Royal Musical Association (2001) Roger Parker has supervised numerous doctoral and master’s students, though specific names are not listed. He has led significant research projects, including the ERC-funded Music in London, 1800–1851 and Operatic Networks: London, Paris and Beyond , securing grants from the European Commission, British Academy, and European Science Foundation. His editorial leadership includes co-founding the Cambridge Opera Journal and serving on the editorial boards of Opera and Opera Quarterly . He has also been an assessor for the Leverhulme Trust and Radcliffe Fellowship Program. He directs major research initiatives such as the MUSLOND project and has been involved in international scholarly networks, including the Institute for Advanced Study at Princeton. His work often involves collaborative teams of musicologists, historians, and archivists, focusing on reconstructing 19th-century musical life through manuscripts, periodicals, and performance records.
Daniel Hjorth is a Professor at Lund University School of Economics and Management (LUSEM) , holding the Lindén Professorship in Aesthetics and Business Creativity . He serves as Centre Director for the Centre for Aesthetics and Business Creativity (ABC) and is a Service Point 10 member. His work bridges entrepreneurship , organizational creativity , and aesthetic-economy relationships . Research Focus : Organization-creation processes, interdisciplinary creativity, philosophy-humanities integration, and posthumanist management. Projects : Active in AI-driven opera innovation (2025), craft as alternative organizing (2024), posthumanist education (2024), and transformative management (2024). Recent Publications explore organizational entrepreneuring failures, heterotopia in management, Japanese dining traditions, and spatial learning in entrepreneurship education. His work connects entrepreneurship to UN Sustainable Development Goals through business administration, art history, and ethics. Activities : Hosted international scholars (2024), organized ABC Centre opening (2024), and served as Editorial Board for multiple journals.
