Rob Haskins is Professor of Music at the University of New Hampshire since 2004, with a multifaceted career as a musicologist, critic, and performer. He earned his degrees in musicology and harpsichord performance from the University of Rochester Eastman School of Music and associated institutions. B.M. Piano, Johns Hopkins University D.M.A. Harpsichord Performance and Literature, University of Rochester Diploma Concert Recital Diploma (Harpsichord), Guildhall School M&D Ph.D. Musicology, University of Rochester His research focuses on John Cage, American minimalism, modernist music theory, and ecopoetics, with publications analyzing Cage's chance operations, Buddhist influences in his work, and intersections of technology and musical innovation. He has authored books including John Cage (2012) and Classical Listening: Two Decades of Reviews from the American Record Guide (2016). Recent publications (2025-2019) span topics from Debussy's etudes to interdisciplinary modernism, with recurring emphasis on Cage, Baroque transcriptions, and experimental composition. His academic work often bridges historical and contemporary practices. Haskins has received grants from the Frederick Smyth Institute of Music (2024) and actively performs, notably directing Cage’s Song Books at the Holland Festival (2012) and recording for labels like Mode and Nonesuch. He teaches courses such as Music of the 20th & 21st Centuries , Survey of Music in America , and Introduction to Bibliography .
Brian Horne serves as Associate Professor of Music and Chair of the Department of Voice at Indiana University's Jacobs School of Music, specializing in studio voice instruction and voice pedagogy. Education: D.M., Doctor of Music, Indiana University, 2001 M.M., Master of Music, Indiana University, 1987 B.A., Bachelor of Arts, Hiram College, 1985 Research Interests: Horne focuses on advanced vocal technique development and pedagogical methodologies for professional singers. His work bridges classical opera training with contemporary musical theatre performance, emphasizing physiological voice science and performance psychology to prepare students for diverse professional careers. Scientific Awards: Master Teacher for the 2014 NATS Intern Program Member of the American Academy of Teachers of Singing Advising and Grants: As faculty sponsor for the Student NATS chapter and doctoral voice pedagogy instructor, Horne has mentored dozens into college teaching positions. His students have won the Cardiff Singer of the World, Metropolitan Opera National Council Auditions, and $10,000 NATS Artist Awards, while receiving career grants from the Richard Tucker and Merola foundations. Labs and Teams: Horne chairs the Voice Department at the Jacobs School of Music, directing comprehensive voice training programs that connect students with major summer festivals including Tanglewood, Wolf Trap, Merola, and Central City Opera, as well as professional studios like the Academy of Vocal Arts and Houston Opera Studio.
Benedikte Sofie Ribe is an Assistant Professor (50% position) at the Department of Classical Music and Music Education, University of Agder. Her primary role involves vocal pedagogy and fostering artistic autonomy in students. She holds degrees from the University of Agder, Franz Liszt Academy of Music (Budapest), and Barratt Due, and has trained under renowned vocalists like Leah Frey Rabine. Her artistic career spans operatic performances (e.g., Tosca, Carmen) and collaborations with composers like Helge Iberg on contemporary works. Ribe actively engages in interdisciplinary projects, including the chamber opera Det Lille Livet and the performance Sceneinflammation , emphasizing experiential learning for students. Research & Collaborations Her work bridges classical and contemporary music, focusing on vocal technique, artistic development, and performance psychology. Collaborations include projects with the Oslo Academy of Arts and the Norwegian Academy of Music. Notable publications (2022–2025) explore topics like opera history, AI in music preparation, and artistic self-agency. Awards: Amalienborg Prize, Kristiansand Cultural Prize for Young Artists, and Young Talents Soloist Prize Key Projects: Development of Det Lille Livet with Helge Iberg; Sceneinflammation performance series Grants: Supported by UiA and external arts partnerships Labs/Teams: Leads singing pedagogy initiatives and contributes to UiA’s performance-based research clusters.
Gavin Roberts is a Professor of Vocal and Academic Studies at the Guildhall School of Music & Drama, where he also serves as a staff pianist. He is the Artistic Director of Song in the City, a platform commissioning new works and presenting over 150 concerts on socially-engaged themes. His roles include accompanist, conductor, and collaborative artist across festivals such as the Oxford Lieder Festival and Monodrama Festival, Luxembourg. He holds a Master’s in piano accompaniment from Guildhall School, a Music degree from Gonville and Caius College, Cambridge, and another Master’s from King’s College London. He was Organist and Director of Music at St Marylebone Parish Church (2014–2022) and is a Fellow of the Royal College of Organists. Roberts’ work emphasizes interdisciplinary collaborations, such as choreographed performances with Rambert and fashion shows at London Fashion Week. He frequently premieres new compositions, including the CD project 'Voices of London' with composers like Raymond Yiu. His artistic direction focuses on socially conscious themes and partnerships with poets, actors, and visual artists. Key engagements include recitals at Wigmore Hall, Barbican Hall, and international festivals, alongside conducting roles with ensembles like the BBC Singers and Academy of Ancient Music. His projects often integrate mental health advocacy, such as 'Creative Minds in Song,' which commissions songs based on poems by mental health service users.
Norbert Meyn is a Professor of Repertoire Studies and Research & Knowledge Exchange Fellow at the Royal College of Music in London. His roles include teaching German Lieder, diction for singers, and supervising Masters and PhD students. Born in Weimar, Germany, he has been based in the UK since 1997, performing worldwide with ensembles like the New London Consort and the Royal Opera, Covent Garden. Meyn leads the interdisciplinary AHRC-funded Music, Migration & Mobility project (2019–2023), focusing on émigré musicians from Nazi Europe. He directs Ensemble Émigré , dedicated to reviving marginalized repertoires. His research spans music migration, 19th–20th century song, and vocal pedagogy. Key outputs include exhibitions like Music, Migration, and Mobility: The Story of Émigré Musicians from Nazi Europe in Britain (2023), and publications on composers like Peter Gellhorn, Robert Kahn, and Hans Gál. Meyn coaches major opera companies and choirs globally, emphasizing linguistic and cultural authenticity in performance. His work challenges musical nationalism through mobility frameworks, blending scholarship with performance. Recent projects include reviving Gál’s What a Life! and Kahn’s piano works. Meyn’s teaching integrates historical performance practices with contemporary research, mentoring doctoral students like Louis De Nil and Benjamin Goodman. He has received accolades including Fellowships from the Higher Education Academy and Royal College of Music.
Volker Schlöndorff is a renowned film director and Professor of Film and Literature at The European Graduate School (EGS) since 2001. Born in 1939, he grew up in Schlangenbad and studied in France, including at the Sorbonne, before entering the film industry. He is celebrated for adapting literary works into films, most notably The Tin Drum (1979), which earned him an Academy Award and Palme d’Or. Schlöndorff’s career spans over five decades, with over 40 films and multiple accolades, including the Carl Zucker Medal (2009) and France’s Legion of Honor (2002). His academic work at EGS focuses on film theory and literary adaptation. Educationally, he attended high school in Hesse, studied political science and economics in Paris, and was deeply influenced by the French New Wave movement. His research interests emphasize narrative techniques, social justice in cinema, and the intersection of literature and film. Research Trends: Schlöndorff’s articles and lectures explore topics like media ethics, cultural identity, and institutional critique. Recent works engage with globalization’s impact, postcolonial narratives, and the role of film in documenting history. His films often critique societal structures and highlight marginalized voices, reflecting a commitment to justice and humanism. Awards: Oscar, Palme d’Or, Carl Zucker Medal, Legion of Honor, Lifetime Achievement at Camerimage Production Companies: Co-founder of Hallelujah-Film (1969) and Bioskop Film (1973); CEO of Studio Babelsberg (1992–present) Labs/Teams: Collaborated with Margarethe von Trotta and directed operas in Germany/France
Patrick Diamond is an Associate Professor of Opera at the University of Rochester's Eastman School of Music. Originally from New Mexico, he is a stage director known for creating fresh, relatable, and engaging productions across both theatre and opera. His work spans established repertoire to new works and devised events, with a focus on cultural sustainability, equity, and inclusion. Directed operas by Mozart, Puccini, Janáček, Verdi, and others Revived rare works like Moniuszko’s Halka and Wolf-Ferrari’s Le donne curiose Co-creator of the music theatre piece drömseminarium with Ellen Lindquist and Tomas Tranströmer Executive Producer of the podcast Unequal Temperament on Native American cultural issues He has taught at Manhattan School of Music, University of Maryland, and as a guest artist at NYU, University of Michigan, and Vanderbilt’s Blair School of Music. Currently, he serves as Director of Production for Eastman Opera Theatre.
Stefania Rimini is a Full Professor of Cinema, Photography, and Television at the Department of Humanities, University of Catania. She holds the academic position of Full Professor in the disciplinary sector PEMM-01/B and is actively involved in research, teaching, and academic leadership. She supervises doctoral theses, leads the Catania Unit of the PRIN 2017 project 'Archives of the South', and coordinates the ARIE research project on opera and media. She also serves as the DISUM delegate for research coordination and is a member of several academic centers, including CRAD at the University of Turin and the Genus Center for Gender Studies. She co-directs the Class A journal Arabeschi with Maria Rizzarelli. Her research interests include intermediality, cinema museology, acting, stardom, documentary film, film archives, and audiovisual heritage. She emphasizes interdisciplinary methodologies and the study of tangible and intangible cultural heritage. Her work often intersects with theater, visual culture, and national/international cultural production. As part of her Third Mission, she curates exhibitions and seminars with local and international impact. The analysis of her recent academic output—particularly her supervision of student theses—reveals a strong focus on the intersections between cinema and other cultural forms such as sports, philosophy, music, literature, and digital media. Her research spans both historical and contemporary themes, from silent film comedy to modern music videos and biographical cinema. She consistently explores narrative, visual language, psychological depth, and cultural representation across genres and media. She has no listed scientific awards in the provided text. However, her leadership in national research projects and editorial roles underscores her academic prestige. Stefania Rimini advises numerous students at the master's level, covering diverse and innovative topics in film and media. Her supervision reflects a commitment to interdisciplinary inquiry and the exploration of cinema as a dynamic, evolving cultural force. She also participates in broader academic activities such as curriculum development and institutional research coordination. She is involved in multiple research initiatives, including the PRIN 2017 'Archives of the South', which examines non-fiction cinema and southern Italian landscapes between 1948 and 1968, and the ARIE project on contemporary opera. These projects involve collaboration with national archives and interdisciplinary teams focused on remediation, iconography, and environmental representation in audiovisual media.
Alexander Green is an Associate Professor at the Faculty of Law, The Chinese University of Hong Kong, joining in January 2025. A public international lawyer, legal philosopher, and political theorist, his expertise spans state creation/continuity, climate change law, Indigenous rights, and legal pluralism. His work bridges analytical philosophy with critical legal theory while exploring law's representation in opera and popular culture. His educational background includes: PhD in Law, University College London LLM in Human Rights Law, University College London LLB(Hons) in Law, University College London Bar Professional Training Course, City University London Postgraduate Certificate in Academic Practice, University of York Green's research integrates three core domains: public international law (focusing on statehood challenges from climate change), legal philosophy (examining law-morality relationships and legal identification), and political theory (analyzing political community and Hannah Arendt's thought). His interdisciplinary approach connects jurisprudence with cultural studies, evidenced by monographs on science fiction's legal dimensions and Wagnerian opera symbolism. Recent scholarship demonstrates growing emphasis on anthropogenic climate impacts on state continuity, ethical dimensions of legal education, and reconstructing foundational international law concepts through philosophical lenses. His scientific recognition includes: Hong Kong Research Grants Council Early Career Scheme (2019) Modern Law Review Covid-19 Response Fellowship (2020) Multiple Lincoln's Inn scholarships (2011-2012) Sir Richard Stapley Educational Trust Doctoral Award (2013) Modern Law Review Doctoral Scholarship (2014-2016) Green secures competitive grants from ESRC and Hong Kong RGC while maintaining active external roles: Academic Associate at 23 Essex Street Chambers, Trustee of UK Socio-Legal Studies Association, and editorial board membership for Asia Pacific Journal on Human Rights. He teaches Climate Law and Public International Law for graduate students, having previously held positions at University of York, Leeds Beckett, and University of Hong Kong with visiting roles at Cambridge and Leeds. His conference convening—including 'The Law(s) of the Future' (2025)—highlights commitment to advancing interdisciplinary legal scholarship. He directs collaborative projects examining law's representation in science fiction and opera, while providing expert testimony to UK parliamentary committees on small island states' climate vulnerability. His public engagement spans podcasts ('Called to the Bar'), international media interviews (Fortune Magazine), and written interventions to UK Foreign Office on Pacific Island policy.
David Chaillou is a French composer and Lecturer at the University of Lille (Inspe, Arras site) since 2006. He teaches music education and history of the arts to future primary school teachers, and co-leads doctoral seminars in the Praxis and Aesthetics of the Arts team. His research-creation practice bridges composition, historical analysis, and cultural mediation. Doctorate in Contemporary History (Paris IV-Sorbonne, 2001) Graduate of Conservatoire de Paris (musical acoustics, piano, composition) His research focuses on three axes: (1) contemporary hybrid musical forms intersecting theater and concert; (2) opera for young audiences and educational mediation; (3) 19th-century French opera in political contexts (censorship, propaganda). His compositions have been performed internationally at venues like Mozarteum Salzburg , Moscow Conservatory , and Rome’s Trinità dei Monti Church . Recent projects include the nomination for ICMA 2025 for his monographic CD Natures , the world premiere of Un détour par l'Orient (2022) at Opéra Bastille, and collaborative research-creation initiatives with institutions in Austria, USA, and Taiwan. He directs the artistic association Inimaginaires and has received grants from Fondation Napoléon and Fondation Beaumarchais . Key Awards : Grand Prix de la Fondation Napoléon (2004), SACD/SACEM grants Chaillou’s scientific expertise spans editorial work for Revue de Musicologie , jury roles (e.g., SACEM film music prize), and international conference organization. His publications include a monograph Napoléon et l’Opéra (Fayard, 2004) and edited musical books for children’s opera projects.
Andrew Davidson is a Senior Lecturer in Acting & Musical Theatre and Programme Leader for the BA (Hons) Theatre at the Guildford School of Acting (GSA), University of Surrey, within the Faculty of Arts, Business and Social Sciences. He is also a Fellow of the Institute for People-Centred AI, Academic Integrity Officer, Chair of Validation Panel, LGBTQIA+ Awareness Trainer, Wellbeing Champion, and Mental Health First Aider at the university. A graduate of NIDA and the University of Sydney, he holds advanced qualifications in Dalcroze Eurhythmics and Kodály Musicianship, and is completing a PhD by Prior Publication at Surrey. His educational background includes: Master of Music, Longy School of Music of Bard College, USA Postgraduate Diploma in Directing, National Institute of Dramatic Art (NIDA), Australia Postgraduate Diploma in Composition, University of Sydney, Australia Bachelor of Arts in Theatre, University of New South Wales (UNSW), Australia Bachelor of Music (Honours Class I), University of New South Wales (UNSW), Australia Diplôme Supérieur, Institut Jaques-Dalcroze (IJD), Switzerland Certificate in Kodály Music Education, British Kodály Academy (BKA), UK Cambridge CELTA, University of Technology Sydney (UTS), Australia Andrew Davidson's research centers on the intersections of theatre, music, and movement in performer training, with a strong emphasis on wellbeing in the performing arts. His work explores embodied learning, the role of rhythm, and pedagogical connections between Dalcroze Eurhythmics and actor training methodologies such as Meisner Technique and Viewpoints. He investigates how listening, improvisation, and creative collaboration enhance performance training and student resilience. His research is interdisciplinary, bridging music education, sociology, and theatre pedagogy to develop holistic approaches in conservatoire education. His publications demonstrate a consistent focus on the integration of music and movement in actor training, particularly through Dalcroze principles. Key themes include listening as a core skill, the influence of historical institutions like Hellerau, and wellbeing frameworks derived from solfege systems. His work spans journals such as Theatre, Dance and Performance Training , Research in Dance Education , and Stanislavski Studies , as well as international conference presentations and book chapters on resilience and pedagogy. Andrew Davidson has received several recognitions, including: ATYP Tutor of the Year (2006) Fellow of the Higher Education Academy (FHEA) Fellow of the Royal Society of Arts (FRSA) Fellow of the Institute for People-Centred AI Vice President of Fédération Internationale des Enseignants de Rythmique (FIER) He has advised students such as Denise Silvey, and his leadership extends to external roles including External Examiner for Staffordshire University partner institutions and editorial board membership for Le Rythme . He has directed numerous productions across acting, musical theatre, and opera, and continues to contribute to curriculum development and educational innovation in the performing arts.
Sophie Louise Roland serves as Associate Professor of Music and Chair of the Music Performance Studies Division at the Don Wright Faculty of Music, University of Western Ontario. She is currently scheduled for administrative leave from September 1, 2024 to August 31, 2025. Hailed for her 'excellence, purity of voice and emotional intensity,' Roland maintains an active international performance career with leading roles including Carmen, Maddalena in Verdi's Rigoletto, Maurya in Vaughan Williams' Riders to the Sea, and Dido in Purcell's Dido and Æneas. She has performed with prestigious organizations including Ente Concerti di Iglesias, American Opera Theater, Orchestra London, and Opera York, and has appeared with major orchestras across North America. Roland founded the Canadian Operatic Arts Academy (COAA) in 2009 and established the Accademia Europea Dell'Opera (AEDO) in 2011 in collaboration with the Centro Studi Opera Omnia Luigi Boccherini in Lucca, Italy. These comprehensive training programs educate singers, pianists, and directors for professional opera careers, featuring faculty from La Scala, Juilliard, the Metropolitan Opera, and other leading institutions. $50,000 Western International research grant (2013) Featured performer at Marilyn Horne's 70th birthday celebration at Carnegie Hall Appearances in film and recordings including 'Infiniment Québec' and Jorane's 'Jorane X' Under Roland's leadership, hundreds of young artists from around the world have participated in these programs before embarking on professional careers. Her students have achieved significant success in competitions including Metropolitan Opera Auditions and NATS competitions.
Harry L. Davidson Jr. is a Professor of Music at Duke University, affiliated with Trinity College of Arts & Sciences. He has held this position since 2002 and oversees the Duke Symphony Orchestra. His educational background includes a B.A. from Case Western Reserve University (1978) and an M.Mus. from Pacific Lutheran University (1983). Davidson specializes in musical performance, opera direction, and classical music education, with a focus on Baroque and Romantic repertoires. He has conducted renowned orchestras like the Duke Symphony Orchestra, Cleveland Institute of Music Orchestra, and North Carolina Symphony, emphasizing collaborative performances with choirs and soloists. His research explores the intersection of music with literature and history, evident in his courses such as 'Musical Shakespeare' and 'Composers of Influence.' Recent artistic works include semi-staged operas (e.g., Mozart's 'The Magic Flute') and outdoor pops concerts. He received a 2009 teaching award nomination for his undergraduate instruction. Davidson's artistic collaborations span venues like Duke Chapel, Page Auditorium, and the Cleveland Institute of Music. His external affiliations include the Cleveland Institute of Music, where he directs opera productions. He has also presented at festivals and symposia, showcasing his commitment to bridging academic and performance traditions.
Associate Professor Narelle Yeo is affiliated with the Sydney Conservatorium of Music at The University of Sydney. She holds an academic position focused on performance, pedagogy, and new music development. Her email is narelle.yeo@sydney.edu.au , and her office is located at C41 Sydney Conservatorium of Music. Education: Graduate studies at Shepherd School, Rice University San Francisco Conservatory of Music Research Interests: Narelle specializes in opera performance, musical theatre direction, and the development of new works. She champions contemporary compositions through premieres of pieces by Australian composers like Luke Byrne and Paul Stanhope. Her work extends to innovative teaching methods in music ensembles and career development through ePortfolio systems. She explores audience engagement dynamics in theatrical spaces and the application of complexity theory to rehearsal practices. Her performance credits include roles in Madama Butterfly , Masterclass , and the world premiere of Annus Horribilis . She has directed opera and musical theatre projects across multiple institutions, including a recent revival of Mahagonny Songspiel . Grants & Projects: 2021 Equity Prize recipient Lead researcher on WIL capstone experiences for musicians Labs & Collaborations: Narelle contributed to the 2024 Footbridge Theatre renovation project, reviving the historic venue for Music Theatre education and performances. She collaborates with organizations like Far Too Soon Productions and Opera Carnivale on new works and community performances.
Steven Tharp serves as an Associate Professor of Voice and Voice Area Coordinator at the University of Missouri 's College of Fine and Performing Arts. A renowned tenor, he has performed with elite opera companies including the Metropolitan Opera and Netherlands Opera, specializing in Handel, Mozart, and early 19th-century repertoire. Education: Master of Music (MM) from Wichita State University His performance career spans over 60 operatic roles and collaborations with world-class orchestras like the New York Philharmonic and Chicago Symphony under conductors such as Sir Georg Solti and Daniel Barenboim. He has extensive experience in concert works including Bach passions and Schubert masses. Steven Tharp maintains an active recital career focusing on Schubert's Schwanengesang and Fauré's melodiés, while also directing opera productions for institutions like Manhattan School of Music and Caramoor. His recordings with labels such as Decca and Naxos have earned critical acclaim. Scientific Awards : Grammy nomination for Edward MacDowell songs Back Stage Bistro Award winner Opera News 'Editor’s Choice'
