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 .
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.
Dr. Marco Ladd is a British Academy Postdoctoral Fellow in Music at King's College London, researching musical culture in early twentieth-century Italy. Current projects investigate musical accompaniment in Italian silent cinema and the emergence of 'light music' in 1920s Italy. Research connects screen music traditions, fascist cultural policies, and popular music development. Publications analyze synchronization practices in silent film and explore intersections between cinema, opera, and operetta. Co-edits a forthcoming special issue on Italian operetta for Cambridge Opera Journal .
Associate Professor Antony Moulis is a faculty member at the University of Queensland's School of Architecture, Design and Planning, where he also serves as Deputy Head of School. He holds a Bachelor of Design Studies and a Bachelor degree from UQ. His research focuses on productive cities, urban retrofit, and global architectural knowledge transfer, with notable contributions to books like House, Precinct, Territory (2023) and Le Corbusier in the Antipodes (2021). He collaborates with industry on projects addressing micro-urban resilience, energy transitions, and cross-cultural architectural exchanges. Research interests include urban infill housing strategies, architectural techniques from the 20th to 21st century, and the global influence of figures like Le Corbusier. He led UQ's participation in the Water Sensitive Cities CRC, focusing on green infrastructure and urban intensification. Awards include the 2025 Architecture Australia Prize for Unbuilt Work and multiple Queensland Architecture Awards for collaborative designs like the Blue Bower and One Room Tower. His work spans academic and professional journals, with over 50 articles and 4 books. He has supervised numerous research projects and contributed to exhibitions at venues like the Seoul Biennale. Moulis is a past President of the Society of Architectural Historians, Australia and New Zealand (SAHANZ), and actively engages in architectural historiography and design pedagogy.
Dr Mark-Anthony Turnage CBE FRCM serves as Senior Research Fellow in Composition and RCM Research Fellow in Composition at the Royal College of Music. He is a composer of truly international stature whose orchestral and operatic music is often forthright and confrontational, unafraid to mirror the realities of modern life, yet its energy is exhilarating. With his flair for vivid titles and complete absorption of jazz elements into a contemporary classical style, Turnage produces work with strong appeal to an enquiring, often young audience while expressing deep tenderness, especially emotions associated with loss. Turnage's research interests focus on the intersection of contemporary classical music with jazz elements. His work explores: Innovative approaches to orchestral composition Jazz-classical fusion techniques Opera and theatrical music composition Music that addresses contemporary social issues Expressive techniques for conveying emotional depth Vivid musical imagery through descriptive titles An analysis of Turnage's extensive publication record reveals a consistent exploration of emotional depth and technical innovation across more than four decades. His works frequently engage with themes of loss, memory, and social commentary while maintaining a distinctive musical voice that incorporates jazz sensibilities within contemporary classical frameworks. The titles of his compositions often provide vivid imagery that guides the listener's interpretation, reflecting his belief in music's ability to communicate directly with audiences through both confrontation and tenderness. Turnage has received significant recognition for his contributions to music: Commander of the Order of the British Empire (CBE) Fellow of the Royal College of Music (FRCM) As a senior figure in composition at the Royal College of Music, Turnage contributes to the institution's research profile through his creative practice and by serving as a role model for emerging composers. His extensive body of work spanning from 1981 to the present demonstrates remarkable consistency in artistic vision while evolving with contemporary musical developments. Turnage maintains an active creative practice through his composition process, which continues to produce significant works that push the boundaries of contemporary classical music while remaining accessible to diverse audiences. His recent compositions continue to explore emotional depth and technical innovation within the contemporary classical framework.
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
Professor Scott Palmer is a distinguished academic at the University of Leeds, serving as Professor of Light and Performance within the School of Performance and Cultural Industries (Faculty of Arts, Humanities and Cultures). With over 30 years of teaching and management experience in Higher Education, he was a founder member of the School in 2001 and has held numerous senior management roles including Interim Head of School, Director of Student Education (2019-2022), Director of Enterprise and Knowledge Transfer, and Programme Manager for BA (Hons) Performance Design for over a decade. In 2017-18, he was appointed to an Excellence and Innovation Fellowship at the Leeds Institute for Teaching Excellence & Innovation. PhD (Leeds) - Light, Scenography and the Choreography of Space Cert. Education (Manchester) BA Hons. Drama (Wales) Professor Palmer is a leading international advocate for scenography as an intellectual discipline. His research focuses on light, darkness and atmosphere in performance, designing for audience experience, and since 2017, the field of XR (Extended Reality). His influential monograph Light: Readings in Theatre Practice (Palgrave Macmillan, 2013) significantly contributed to establishing scenography as a scholarly field, exploring how light has influenced staging practices throughout history. He has co-edited major works including Scenography Expanded (Bloomsbury 2017) and the groundbreaking Contemporary Performance Lighting (2023), the first critical anthology focused specifically on performance lighting. His recent publications reveal evolving research trends from historical analyses of light in theatre to contemporary explorations of XR, immersive environments, and audience experience. Keywords across his work consistently emphasize scenography, audience experience, light design, and the integration of digital technologies in performance. His sub-field specializations span historical lighting techniques, immersive theatre practices, site-specific performance, 360-degree environments, and the theoretical frameworks connecting technological innovation with theatrical expression. Excellence and Innovation Fellowship at the Leeds Institute for Teaching Excellence & Innovation (2017-18) Research impact highlighted by AHRC as an exemplar case study Contributions to BBC Radio 3's Illuminating the Stage (broadcast December 25, 2017) Professor Palmer has supervised numerous PhD candidates and led collaborative student projects resulting in public performances including Pandora's Box (2009), Dream/Play (2010), Just Before Dawn (2011), Into the Dark (2012), Blood Wedding (2013), The Dreaming (2015), The Waiting Room (2017), and Within This House (2018). His research has been supported by significant grants including the AHRC-funded Projecting Performance (2006-08), UKRI-funded Surround Stories (XR Stories), and AHRC-funded Bridging the Gaps exploring Mixed Reality Performance of Chinese Opera. He plays an active role in international scholarly communities as co-convenor of the IFTR Scenography Working Group (2013-16), inaugural member of the TaPRA Scenography Working Group, and contributor to OISTAT Education and History and Theory Commissions. Professor Palmer is a member of the PLACE, Practice as Research, and Participation Research Groups at Leeds, and was co-instigator of the Leeds-based Performing Light Network. His SignalSpace web resource, developed with colleague Maria Kapsali, explores digital creativity and mobile phone applications in performance contexts. He regularly presents research outcomes at international conferences including IFTR, TaPRA, ICIDS, and ZipScene, demonstrating his commitment to advancing both theoretical understanding and practical applications of performance design.
Ted Simpson is a Distinguished Senior Lecturer in the Department of Theatre, Dance, and Performance Studies at Tufts University. He holds an MFA in Set and Lighting Design from Brandeis University. His professional career spans over 100 theatre productions across the northeast, including work at the George Street Playhouse, Arena Stage, and Broadway-related projects. He has also served as a resident designer at the Brevard Music Center and contributed to the Late Show With David Letterman and Paper Mill Playhouse. Education: MFA in Set and Lighting Design, Brandeis University, United States Research and Practice: Simpson specializes in set and lighting design for theatre, opera, and musicals. His work emphasizes technical precision and artistic innovation, with notable projects in New York, New England, and North Carolina. He has also contributed extensively as a scenic artist, painting scenery and backdrops for major institutions. Awards and Recognition: No scientific awards listed, but his body of work reflects significant industry recognition. Advising and Grants: No formal advising or grant details provided in the text. Labs and Teams: Active collaborations with theatre companies and design teams across multiple states, though specific lab affiliations are not mentioned.
Patrick Hansen is an Associate Professor at the Schulich School of Music, McGill University, and currently on sabbatical leave during Fall 2024. He serves as the Artistic Director of Opera McGill and holds expertise in conducting, stage directing, vocal coaching, and artistic administration. He has been actively involved with the Association of Opera in Canada (AOC) and Opera America. His career spans over 40 years, involving over 300 opera productions across North America and Europe. Education: MMus (Piano Performance), University of Missouri at Kansas City, 1991 BMus (Piano Performance), Simpson College, 1988 Fellowship in Opera Coaching, The Juilliard School, 1991-1993 Research and Creative Work: Hansen focuses on opera production, stage direction, and vocal pedagogy. His recent productions include the Bulgarian premiere of Weill’s *Street Scene*, and stagings at venues like the Kennedy Center and Opéra de Montréal. He is known for innovative directing, such as incorporating audience spaces in *Lucretia* and dramatic lighting in *Bluebeard’s Castle*. Awards: Two-time Schulich School of Music 'Excellence in Teaching' Award McGill Award for Equity Programming Advising and Mentorship: Teaches Opera McGill courses, graduate seminars on Bel Canto and Shakespeare in Opera, and provides private vocal coaching for advanced students. His artistic mentorship extends to programs like Bel Canto in Tuscany. Labs/Teams: Leads Opera McGill, a renowned training ground for operatic artists. Collaborates with institutions like Glimmerglass Opera and Florida Grand Opera. Current projects include directing *The Barber of Seville* (2024) and *Platée* (2025).
Prof. Dr. hab. Zbigniew Treppa is a distinguished Professor at the Faculty of Social Sciences, University of Gdańsk , within the Department of Image Anthropology . His work bridges visual semiotics , religious iconography , and photographic theory , with a focus on acheiropoietos images (divine images not made by human hands). Education: Theology at Catholic University of Lublin, PhD from Poznań Academy of Fine Arts, Habilitation from Polish National Film, Television and Theatre School His research investigates the semiotics of photographic images , particularly analyzing sacred artifacts like the Turin Shroud , Manoppello Image , and Tilma of Guadalupe . Recent works explore the ecumenical potential of visual representation and theological interpretations of light in photography. Key trends in his publications include visual theology ( 8 entries ), acheiropoietos image analysis ( 6 entries ), and media-cultural intersections ( 4 entries ). His 2015 article in 'Więź' examines visual oppression vs. theological suffering , while 2016's 'Acta Humaniora' work debates iconographic functions in ecumenism . Scientific Awards: University of Gdańsk Rektor's Award for 'Całun turyński – fotografia Niewidzialnego?' First Prize & Honorable Mention in 'Vidical' International Photography Competition Treppa has received research grants for studies on the Manoppello Image (2008-2010) and conducted fieldwork in Italy, Mexico, and Poland. He serves on the National Centre for Culture expert panel in Warsaw and actively participates in international conferences on acheiropoietos images and visual theology . His artistic practice includes 25+ solo exhibitions of staged photography since 1982, notably 'Opera Infinita – Opera Aperta' (2012) and 'Corporale' (2013). Collaborative works appear in collective exhibitions across Poland and Italy, including the International Workshop on Acheiropoietos Images in Frascati (2010) and Toruń (2011).
Peter Tuite is a Full Titled Professor and Head of the Keyboard Faculty at the Royal Irish Academy of Music (RIAM), one of Europe’s leading music institutions. He holds dual appointments, previously serving as Head of Piano and Keyboard Instruments at Trinity Laban Conservatoire of Music and Dance in London (2015–2018). His academic roles are complemented by extensive international performance and curation work. Education includes Trinity College Dublin, University of Oxford, and a Fulbright Scholarship at Johns Hopkins University’s Peabody Institute. He is renowned for his specialization in 18th-century keyboard works, particularly Haydn and Bach, and has pioneered innovative recordings such as the Goldberg Variations (2020) and the Art of Fugue project (2025). As a concerto soloist, he collaborates with renowned conductors like Andrei Boreyko and orchestras across Europe and the U.S. Research interests span performance practice, musicology, and interdisciplinary projects blending music with literature. He co-founded the New Lights Festival (2018), a London-based platform for contemporary music innovation, and launched the New Lights Forum for artist-intellectual dialogues. His recent hybrid works merge poetry with ancient instruments, including a 2023 piece premiered in London. Awards: Glenn Gould Bach Fellowship (2020), Loubser Fellowship (2020), Lead Curator of PLF Projects (2022), Poetry Commendation (2015). Grants & Projects: Digital exhibition space development (PLF Projects, 2024), Weimar Bach exhibitions (2021), international masterclasses in 15+ countries. Labs/Teams: Leads the RIAM Keyboard Faculty, collaborates with the Vanbrugh String Quartet and artists like Hakan Hardenberger.
Madeleine Bernstorff is a cultural producer, film curator, author, and lecturer at the Institute for Music and Media at Robert Schumann University Düsseldorf. Her work bridges research-based film curating, feminist film history, and avant-garde cinema, with a focus on resistance movements and political documentary forms. Education : Studied media art at the Academy of Fine Arts Munich, University of Munich, and F+F School of Design Zurich Research : Avant-garde cinema, feminist film movements, migrant representation, and socio-political documentation Teaching : Guest professorships at Berlin University of the Arts, Munich Academy of Fine Arts, and international institutions Collaborations : Co-founded Sputnik cinema (1984) and Blickpilotin feminist film collective (1989) Publications : Edited works on Trinh T. Minh-ha, René Vautier, and Afghan cinema Her filmography includes The Fanaticism of the Suffragettes (2010), Candan (2005), and Zitronenfilm (1997), exploring themes of gender, migration, and historical memory through Super8 and video art. She has curated exhibitions at Tromsø Kunstforening and programmed films at institutions like the Arsenal Cinema Berlin and Oberhausen Short Film Festival.
Patrick Du Wors serves as Associate Professor in the Department of Theatre at the University of Victoria, British Columbia, currently on academic leave. An internationally recognized Canadian performance designer and curator, his expertise spans theatre, opera, and musical productions across classical and contemporary genres. Education: BFA from University of Victoria MFA from University of Alberta His research integrates scenographic practice with curatorial innovation, emphasizing cross-cultural exchange in performance design. Key contributions include Canada's representation at the Prague Quadrennial and development of experiential educational platforms like PQ Studio. His work bridges academic theory with professional production through collaborations with major international companies. Awards: CITT Technical Merit Award (2015) for Shared [private] Space Betty Mitchell Award for Best Production (2015) Multiple Dora Mavor Moore Award nominations (2009-2014) Six Victoria Theatre Critics’ Choice Awards (2002-2016) University of Calgary Great Supervisor Award (2014) As an educator, Du Wors has supervised graduate students at University of Calgary and instructed at York University, University of Alberta, and National Theatre School of Canada. His creative projects receive institutional support from organizations including The Banff Centre, Canadian Opera Company, and Royal Shakespeare Company. He maintains active professional partnerships with over 15 major theatre companies across Canada, the UK, and Europe while serving on international juries for events like World Stage Design.
Thomas Schulze is a Professor of Singing at the Royal Northern College of Music (RNCM) , serving as a Principal Study Vocal and German Repertoire Tutor within the School of Vocal Studies and Opera. His career spans roles as a light lyric tenor in Koblenz, performances at prestigious venues like the Gaertnerplatztheatre Munich and Deutsche Oper Berlin, and collaborations with renowned conductors including Wolfgang Sawallisch and Dietrich Fischer-Dieskau. Academic Role: Professor of Singing Specializations: Lieder recitals, Evangelist performances Key Collaborations: Berlin Philharmonic, Vienna, Paris festivals His research interests align with vocal pedagogy and Germanic classical music traditions. He has been recognized with the O E Hasse prize from the Academy of Arts Berlin.
Leila Zammar is a Professor at Loyola University Chicago, with a PhD earned at the University of Warwick under supervisors David Lines and Margaret Shewring. Her academic journey began with researching set design and staging techniques for early operas, particularly focusing on the Barberini family’s patronage. Research spans scenography, Renaissance and Baroque theater, political iconography, and women’s contributions to the arts Key publications analyze Barberini’s theatrical propaganda, Bernini’s scenographic inventions, and urban toponymy of female artists Her work integrates archival research to reconstruct staging techniques from 1628–1656 in Rome, while also exploring intersections between music, literature, and cultural identity through studies of women musicians in Cagliari’s urban nomenclature.
