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\nTHEMATIC ISSUES
\nRevue DCLP\n<\/h2>\nABOUT THE AUTHORS (in alphabetical order)
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Catherine AFTALION<\/h1> \nSecretary General of the Maria Callas Endowment Fund and a senior executive in insurance, Catherine Aftalion has been passionate about music since her youth and is a trained pianist with several competitions at the advanced level to her credit. She is committed to passing on music to younger generations, organizing concerts in regions, and giving musical lectures, particularly those focusing on the Art of Maria Callas, which she has presented, among other places, on the stage of the Reims Opera. Catherine Aftalion is also a composer, a member of SACEM, and a scriptwriter, a member of SACD.\n\n

Angela ALBANESE<\/h1>\nAngela Albanese is an associate professor of Comparative Literature and Theatrical Literature, Writing, and Criticism at the University of Modena and Reggio Emilia. She directed, until 2022, the publication series \u00ab\u00a0Canovaccio. Teatro\u00a0\u00bb: bilingual Spanish-Italian texts of contemporary Italian theater. A member of various scientific committees of journals and national and international research groups, her research areas include translation theory and history, contemporary theater, and practices of reception, rewriting, and adaptation of literary texts. Her publications include, among others, Metamorfosi del Cunto di Basile. Traduzioni, riscritture, adattamenti<\/i> (2012); L\u2019artefice aggiunto. Riflessioni sulla traduzione in Italia<\/i> (with F. Nasi, 2015); Identit\u00e0 sotto chiave. Lingua e stile nel teatro di Saverio La Ruina<\/i> (2017); Linguaggi, esperienze e tracce sonore sulla scena<\/i> (with M. Arpaia, 2020); A modo loro. Riscritture, transcodificazioni, dialoghi con i classici<\/i> (2020); Changes. Riscritture, sconfinamenti, talenti plurimi<\/i> (Mimesis, 2024).\n\n

Salvatore Maria ANZALONE<\/h1>\nSalvatore Maria Anzalone is a Lecturer at the University of Paris 8 and a member of the Laboratory of Artificial and Human Cognition, leading the group Cognition and Social Interactions. His research interests focus on social robotics, from analyzing interpersonal dynamics to developing socio-cognitive behaviors, with the goal of enabling robots to express high levels of social intelligence. He has worked extensively on these topics in the specific context of social assistance robotics for children with neurodevelopmental disorders. He received a JSPS research fellowship from the Japan Society for the Promotion of Science (2011-2012) and a fellowship from the Japanese National Institute of Information and Communications Technology (2013). He has participated in several national and European projects such as the FP7 Michelangelo. He is currently the editor-in-chief of the International Journal of Social Robotics by Springer.\n\n

Louise BRUN<\/h1>\nGraduated from the Bordeaux Conservatory in 2006, Louise Brun discovered Opera within the choir. After a stint in Hypokh\u00e2gne and Kh\u00e2gne, she turned towards careers in the performing arts. In 2017, after five years of experience as a lyric stage manager, she began collaborating with director Emmanuelle Bastet. She also assists David Hermann, \u00c9milie Capliez, Am\u00e9lie Niermeyer, Yoshi O\u00efda, Timothy Sheader, and Kirill Serebrennikov at the Paris Opera. In March 2022, Louise Brun signed her first staging of The Human Voice<\/i> at the Auditorium Cariplo in Milan. She is part of the first promotion of the Bordeaux National Opera Academy and presents a new production of Dido and Aeneas<\/i> at the Grand Th\u00e9\u00e2tre de Bordeaux in February 2023. Her creation Oh La La La!<\/i>, performed in October 2023 as part of the La Semaine bleue festival, will be reprised in a version for all audiences in June 2024 at the Dijon Opera.\n\n

Filippo BRUSCHI<\/h1>\nFilippo Bruschi is a playwright and poet. Born in Italy, he began working in France in 2005. He has written and published, in Italian, the plays Th\u00e9\u00e2tre\u00efde<\/i> (2013) and Luxuri\u00e0as<\/i>: Lost in lust (Fersen Prize for dramaturgy, 2015), in collaboration with Caroline Pagani. Filippo Bruschi has published the poetry collections Plaquette<\/i> (2014) and Maniere<\/i> (2019). In 2018, he wrote (in French) and staged Callas machine<\/i>. In 2021, the text was published in Italian with the title Kallasmachine<\/i> by Kolibris editions. Holding a Ph.D. in Theater Studies from the University of Paris 3 Sorbonne-Nouvelle, Filippo Bruschi has taught Performing Arts at IUAV in Venice and the Academy of Fine Arts in Venice, as well as at the universities of Paul Val\u00e9ry in Montpellier (2015-16), Lille 3, and Strasbourg. He has published the essay Personnage collectif, personnage individuel au th\u00e9\u00e2tre: tableaux d’un parcours dialectique<\/i> (1830-1930) with Honor\u00e9 Champion editions.\n\n

Jo\u00e3o Pedro CACHOPO<\/h1> \nJo\u00e3o Pedro Cachopo teaches at the Nova University of Lisbon, where he is a researcher at the Center for Studies in Sociology and Aesthetics of Music. His research areas are at the intersection of philosophy, musicology, and media and performance studies. He is the author of Callas e os Seus Duplos: Metamorfoses da Aura na Era Digital<\/i> (Documenta, 2023), A Tor\u00e7\u00e3o dos Sentidos: Pandemia e Remedia\u00e7\u00e3o Digital<\/i> (Documenta, 2020), translated into English as The Digital Pandemic: Imagination in Times of Isolation<\/i> (Bloomsbury, 2022), and of Verdade e Enigma: Ensaio sobre o pensamento est\u00e9tico de Adorno<\/i> (Vendaval, 2013), for which he won the first book prize from the Portuguese PEN Club in 2014. He has also co-edited, with Chris Stover and Patrick Nickleson, Ranci\u00e8re and Music<\/i> (Edinburgh University Press, 2020), among other books. Jo\u00e3o Pedro Cachopo has translated into Portuguese works by Georges Didi-Huberman, Jacques Ranci\u00e8re, and Theodor W. Adorno.\n\n

Matteo CASARI<\/h1> \nMatteo Casari is an associate professor in the Department of Arts at the University of Bologna, where he teaches Asian Theaters, Asian Performance Cultures, and the Organization and Economics of Performing Arts. He is primarily interested in Asian theatrical traditions, particularly those of Japan, where he has conducted field research, and has also explored Italian folk traditions. He is the author of various publications, including monographs, edited volumes, and essays, the most recent being: Mishima Mishima Yukio e l\u2019atto performativo. Drammaturgie di un artista<\/i> (2023, with Giovanni Azzaroni and Katja Centonze); Un mito che danza, un teatro che si fa storia: il n\u014d<\/i> (2022); Matsuyama n\u014d. Un n\u014d differente<\/i> (2021); Il n\u014d dei robot: l’artificio e l’empatia<\/i> (2021). He is the scientific director of the journal \u00ab\u00a0Antropologia e Teatro\u00a0\u00bb and deputy director and project leader of the Mokichi Okada Chair on Beauty. He coordinates the interdisciplinary research group \u00ab\u00a0Performing robots\u00a0\u00bb (University of Bologna) and is a member of the scientific council of the Master’s program in Entrepreneurship in Performing Arts (University of Bologna).\n\n

Fabio CEPPELLI<\/h1> \nFabio Ceppelli is an independent journalist who started his career at the local newspaper Gazzetta di Modena<\/i>. He has written for numerous local and national media outlets. For over 30 years, he has been active in the field of event organization and cultural and territorial promotion. Initially a press attach\u00e9 and collaborator for public administrations, then coordinator of associations for promoting Modena’s historic center, he has collaborated with national promotion agencies. Today, he is responsible for promotion and audience training at the Teatro Pavarotti-Freni in Modena. For over 15 years, he has also collaborated with Raina Kabaivanska in coordinating the activities of the renowned soprano and is the author of the book Raina Diva- ritratto di un’anima<\/i>.\n\n

Beno\u00eet de CHASSEY<\/h1> \nBeno\u00eet de Chassey holds a Ph.D. in Biology and is a co-founder of the pharmaceutical company ENYO Pharma. He develops a dual theatrical experience: as an actor under the direction of Claire Rengade, Gr\u00e9goire Blanchon, or Fany Buy, and as an author in an adaptation of Olga ma Vache<\/i> by Roland Dubillard and with the writing of the shows L\u00e9o Conf\u00e9rence<\/i> and I am not Maria Callas<\/i>. He offers modular performances for intimate theater in an apartment format as well as for large stages.\n\n

David CHRISTOFFEL<\/h1> \nDavid Christoffel is a poet and composer, radio personality, and Ph.D. in musicology from EHESS. Author of spoken operas (recently Consensus partium<\/i>, performed at the opening of the Brussels festival Next opera days<\/i> in 2023), he has published over 150 studies between poetry, musicology, and radio aesthetics. Formerly a columnist for France Musique, he produces magazines and creation programs for France Culture and Espace 2 (RTS) and the program Metaclassique<\/i> broadcast on over a hundred associative radios. He is also the author of Ouvrez la t\u00eate (my thesis on Satie)<\/i> (MF editions, 2017) and two essays La musique vous veut du bien<\/i> (PUF, 2018) and Les petits malins de la grande musique<\/i> (PUF, 2023). His works are listed on the site www.dcdb.fr\n\n

Maria Teresa CORACI<\/h1>\nSicilian actress and writer, Maria Teresa Coraci holds a degree in philosophy from the University of Rome La Sapienza and in educational sciences from Roma Tre University. She is interested in writing by migrant and post-colonial women, feminist art, mental distress, contemporary feminist philosophies, and dramaturgies. In 2012, she completed a Master’s in Gender, Thought of Differences, Sex Relations (University of Paris 8). She is the author of Non finito<\/i> (self-published, Edizioni della Mano d’oro, Rome 2016), inspired by the life of Camille Claudel. With the theatrical monologue Por Marielle Franco, she won the Premio Serra as an author (Naples, 2022). Three of her monologues were included in the play Di me la notte sembra sapere<\/i> (Festival delle Orestiadi di Gibellina, 2023).\n\n

Joseph DELAPLACE<\/h1> \nJoseph Delaplace is a Professor at the University of Rennes 2 (research unit EA 3208 \u00ab\u00a0Arts: Practices and Poetics\u00a0\u00bb). He directed the UFR \u00ab\u00a0Arts, Letters, Communication\u00a0\u00bb (2017-2022) and the musicology department (2014-2017 and 2023-2026). Holder of the agr\u00e9gation, CAPES, and several conservatory prizes, he teaches analysis and aesthetics of 20th and 21st-century music. He is the author of a book (Gy\u00f6rgy Ligeti. An Essay on Musical Analysis and Aesthetics<\/i>, PUR, 2007) as well as numerous articles and chapters on the works of Ligeti, Berio, Cendo, Harvey, Ferneyhough, Feldman, De Vienne, Var\u00e8se, Sch\u00f6nberg, Berg, Debussy, Mahler, Stravinski. He has directed 7 collective works, including The Art of Repeating. Psychoanalysis and Creation<\/i> (PUR, 2014), The Musical Writing of Bernard de Vienne<\/i> (L’Harmattan, 2012), The Body in Musical Writing<\/i> (with Jean-Paul Olive, Artois Press University, 2019).\n\n

Gilles DEMONET<\/h1>\nGilles Demonet is a Professor at the Music and Musicology UFR of Sorbonne University, where he directs the Master’s program in Music Administration and Management. From 2020 to 2023, he directed the IReMus (Institute for Music Research). His research focuses particularly on contemporary musical institutions. He has published The Straram Concerts (1926-1933)<\/i> (Paris, French Musicological Society, 2021), The Markets of Live Music<\/i> (Paris, PUPS, 2015), and, with Jean-Pierre Saez, Opera on Screen: Opera for All! New Offers and New Cultural Practices<\/i> (Paris, L’Harmattan, 2013). He frequently teaches abroad, notably in China and Italy. Previously, he was the administrative and financial director of the Op\u00e9ra-Comique and the director of the French office of IMG Artists<\/i>.\n\n

Farah DHIB<\/h1>\nPh.D. in Musicology (University of Poitiers & University of Tunis), Farah Dhib is a researcher associated with Criham (Interdisciplinary Research Center in History, Art History, and Musicology). She specializes in Arabic opera, author of a doctoral thesis titled Models and Transfers of Western Paradigms in Arabic Opera between 1956 and 2016<\/i>. Her academic background includes training in Arabic music and lyric singing with renowned vocalists such as Hristina Hadjieva, Alexandra Papadjiakou, Henry Runey, Micaela Etcheverry, and Dany Barraud. Farah Dhib holds a master’s degree in Television and Webmedia and Communication (GES network) and in Musicology Research (University of Paris Sorbonne), and her research covers various topics: lyric institutions, vocal interpretation, political and ideological engagement in Sayed Darwich’s operettas, cultural transfers in music, Tunisian popular music, and vocal analysis using artificial intelligence.\n\n

Eftychia DROUTSA<\/h1>\nPianist at the National Conservatory of Athens, Eftychia Droutsa began her university studies in France at the University of Strasbourg – Marc Bloch in musicology. She obtained a Master’s degree titled A Music of Divine Origin: The Music of Western Thrace and its Evolution. She continued her studies at the University of Paris\u2013Sorbonne in ethnomusicology at the Center for Musical Heritage and Languages under the direction of Professor Fran\u00e7ois Picard. She began her work on the vocal repertoire of the Muslim Pomak minority (northeastern Greece, Western Thrace) titled The Pomak Song: Memory and Musical Perception. She obtained her Ph.D. on the study of the mevlud ritual practiced by women of the same community titled Minor Musics. The Mevlud Ritual among Pomak Women in Western Thrace. She is a lecturer at Paris 8, a cultural mediator at the Philharmonie, and a member of the French Ethnomusicology Society (SFE) and founding member of the ethnomusiKa association.\n\n

Christophe FEL<\/h1>\nAfter a 25-year career as a solo bass, primarily focused on major roles of the 18th, 19th, and 20th centuries on Europe’s major stages, Christophe Fel dedicated himself to teaching belcantist vocal technique, which he inherited from one of the last descendants of the famous 19th-century family of singers-teachers, the \u00ab\u00a0Garcia-Malibran-Viardot\u00a0\u00bb. Christophe Fel is the artistic director of the international Georges Liccioni singing competition…. \n\n

Giordano FERRARI<\/h1> Giordano Ferrari is a member of the MUSIDANSE Laboratory (EA 1572) and a professor at the University of Paris 8. He was responsible for and coordinated the research project \u00ab\u00a0Contemporary Musical Dramaturgy in Europe\u00a0\u00bb (ANR project 2005-2008), the project \u00ab\u00a0Luciano Berio’s Musical Theatre\u00a0\u00bb (2010-13), and the project \u00ab\u00a0Towards the Present of Musical Dramaturgy through the Idea of ‘Sensitive’ Space\u00a0\u00bb (Labex Arts H2H, 2014-16). In addition to articles on music and musical theater of the 20th century, he is the author of the books Armando Gentilucci<\/i> (Ricordi\/LIM, 1998), The Beginnings of Avant-Garde Musical Theatre in Italy<\/i> (L’Harmattan, 2000), and he has directed or co-directed numerous collective works, including The Exploded Opera<\/i> (2006), Music and Its Scenic Expression<\/i> (2007), Speech on Stage<\/i> (2008), and For Current Stage<\/i> (2009), To Bruno Maderna<\/i> (2007 and 2009), Luciano Berio’s Musical Theatre<\/i> (2016), The Sensitive Space of Musical Dramaturgy<\/i> (2018). \n\n

Marguerite FRISON-ROCHE<\/h1> Graduated from Sciences Po Paris and the Sorbonne in modern letters. Passionate about music and theater, Marguerite Frison-Roche completed her final internship at the Paris Opera. She continued her studies in cultural management at the Accademia della Scala. This training allowed her to work within the artistic direction of La Scala as well as the Bru Zane Foundation in Venice. During her academic career, she conducted numerous exchanges with European universities to study cultural policies and languages, notably in Stockholm, Seville, Vienna, and Rome. After various public affairs consulting missions upon her return to France, Marguerite Frison-Roche joined the philanthropic organization Le Fonds du Bien Commun, which invests notably in culture and education. \n\n

Eulalie GIRAUD<\/h1> Eulalie Giraud is currently a parliamentary collaborator at the National Assembly. Passionate about history, she is the founding president of Europa Chroniques, an association that promotes European cultural heritage through the production of podcasts. Graduated with a degree in History and a double master’s from Sciences Po Strasbourg, she also conducts research on the history of European construction and the personality of Louise Weiss. \n

Pierre GIROD<\/h1> Pierre Girod is a doctor in musicology, attached to EA 1279 and associated with the Francophone Music Criticism network. Qualified for the functions of lecturer in the 18th and 22nd sections, he was a course instructor at the University of Rouen-Normandy, the University Paul-Val\u00e9ry (Montpellier), and the University Jean-Jaur\u00e8s (Toulouse). His contributions to two of the three volumes of A History of Opera in France<\/i> (Fayard) as well as to several issues of L’Avant-Sc\u00e8ne<\/i> Opera testify to his expertise in lyric singing as a social, artistic, and pedagogical practice. He teaches this discipline in a conservatory after having performed professionally in various specialized vocal ensembles for about fifteen years.\n\n

Adrian GRAFE<\/h1> Graduated from Oxford (BA Hons Oxon), Adrian Grafe is an English teacher and professor at the University of Artois. A poet by training, he is the author of several works dedicated to poetry and the links between poetry, literature, and popular music. Also a singer, musician, and songwriter, he wrote and performed the twelve songs on the CD Forgiving World<\/i>, realized in collaboration with Myl\u00e8ne Douriez. Adrian performed his compositions at international colloquia, notably at the DCLP colloquium at the University of Angers in 2018, and at the SAES congress at Rennes II in 2023. ‘I Remember Arras’, a sequence of four sonnets, was published in The Spectator<\/i> in 2021, and his novel The Ravens of Vienna<\/i> was recently released (Histria, 2022).\n\n

Denis HUNEAU<\/h1> Denis Huneau is a lecturer and head of the Musicology program at the Catholic University of the West. His works, including the first major book on Andr\u00e9 Caplet, a close friend and collaborator of Debussy, focus on music and musical institutions in France from the 19th century to World War II, as well as on the teaching of writing. He regularly explores the musical life in Angers, including that of its opera. \n\n

Marc JEANNIN<\/h1> Lecturer at the University of Angers and Doctor of Letters from the University of the Sorbonne, Marc Jeannin is passionate about the voice and specializes in the relationship between languages and music. His interdisciplinary work focuses notably on vocal expression in relation to emotions and sensory perceptions. Author of scientific articles and press articles, he has also published several books including Anthony Burgess: Music in Literature and Literature in Music<\/i> (Cambridge Scholars Publishing, 2009), Anthony Burgess and France<\/i> (Cambridge Scholars Publishing, 2017), Anthony Burgess et la France<\/i> (Presses Universitaires de Rennes, 2019), Phonetic Accent and Musical Accent in Vocal Music in English<\/i> (Editions Universitaires Europ\u00e9ennes, 2019), and Phonetic and Phonological Guide to English<\/i> (Ellipses, 2024). Marc Jeannin is also a songwriter and member of SACEM.\n \n

Arnaud KIENTZ<\/h1> Arnaud Kientz began his studies at the age of 16 and completed them under Janine Reiss. Various opera roles and concerts led him to perform in France and abroad. He recorded for Musigram Ave Maria<\/i>, The Marseillaise<\/i> (over 4 million listens), and God Save the King<\/i>, thus being invited by French and English media in September 2022 during the funeral of Queen Elizabeth II because it was still the only commercially available version. In parallel, he participates in organizing masterclasses (Ruggero Raimondi in Marseille), festivals (Piano Festival of Solli\u00e8s Pont, Les Coups de coeur in Chantilly), and dedicates himself to teaching singing, which he has passionately practiced for about twenty years.\n \n

Mi-kyung KIM<\/h1> Lyric soprano, graduated from Kyunghee University in Seoul and then from the Hochschule f\u00fcr Musik in Dresden as an opera soloist, Mi-kyung Kim made her debut at the Semperoper with Sir Colin Davis. She sang in Dresden where she performed numerous recitals. Then she performed in France in various cathedrals (Chartres, Senlis) and churches (Saint Germain des Pr\u00e9s, Val de Gr\u00e2ce), participated in festivals (with Laurent Petitgirard, Fr\u00e9d\u00e9ric Lod\u00e9on), in operas (La Boh\u00e8me<\/i>, Gianni Schicchi<\/i> by Puccini), gave private performances at the Op\u00e9ra Garnier in Paris, in Venice, in castles, and various palaces. In addition to Europe, she occasionally performs in South Korea and the United States. Initially very classical, focused on opera, bel canto, oratorio, German Lied, or French melody, she has progressively expanded her repertoire to include gospel, musical comedy, and jazz standards. \n\n

Lisa LA PIETRA<\/h1> Specialist in the analysis and aesthetics of vocal interpretation, Lisa La Pietra is a doctoral student at the University of Paris 8 in scientific co-supervision at IRCAM-Centre Pompidou, in the team Analysis and Synthesis of Sound under the direction of Nicolas Obin. She regularly works as a consultant for various national and international institutions. She has several scientific publications to her credit, including the \u00ab\u00a0Grandi Voci\u00a0\u00bb section of the official magazine of the Teatro alla Scala: La Scala magazine.

Doriana LEGGE<\/h1> Doriana Legge is a researcher specializing in the disciplines of performing arts at the Universit\u00e0 degli Studi dell’Aquila and coordinator of cultural activities at this university. In 2018, she participated in the creation of \u00ab\u00a0Aria – Festival di Teatro,\u00a0\u00bb of which she is the artistic director. Her research areas concern Italian theater from the early 20th century (Un Novecento scomodo. Il teatro di Emma Gramatica, Tatiana Pavlova e Anna Fougez<\/i>, Bulzoni, Rome 2022; Inseguendo<\/i> I Carabinieri. Beniamino Joppolo, ovvero la pratica della singolarita\u0300<\/i>, Bulzoni, Rome 2020), and studies on the orientations, functions, and perceptions of the sound register in theater. She is a member of the editorial board of the study magazine \u00ab\u00a0Teatro e Storia.\u00a0\u00bb \n\n

Nicoletta MANTOVANI<\/h1> Graduated in natural sciences from the University of Bologna, Nicoletta Mantovani was the artistic director of the charity concert \u00ab\u00a0Pavarotti & Friends\u00a0\u00bb from 1995 to 2003. As an entrepreneur in the theater and cinema sector, she produced the Italian version of the Broadway musical \u00ab\u00a0Rent\u00a0\u00bb in the early 2000s, a short film, and an art film that was awarded at the Rome Film Festival. Nicoletta Mantovani also produced important Italian music festivals, hosting some of the most famous international artists. She coordinated international celebrities participating in the opening and closing ceremonies of the 2006 Winter Olympics in Turin and, since 2008, has organized significant events worldwide dedicated to the memory of Maestro Pavarotti. Nicoletta Mantovani was a cultural promotion and youth policy advisor for the city of Bologna and deputy mayor and international relations counselor for the city of Florence. Nicoletta Mantovani is the president of the Luciano Pavarotti Foundation<\/i>. \n\n

Diana Elizabeth MARTINOVICH<\/h1>\nDiana Elizabeth Martinovich is a writer of Croatian origin, an opera mezzo-soprano singer, business and career coach, and entrepreneur. She has written several non-fiction books on topics such as goal setting, leadership, and business strategies in the digital age, as well as the book The Art of Bel canto: where science and spirit meet<\/i>, co-authored with her husband, Boris Martinovich. As an entrepreneur, Diana Elizabeth Martinovich has founded and successfully managed numerous businesses. As an opera singer and producer, she has performed worldwide and, as a producer, she has developed several projects for young classical and opera singers. Diana Elizabeth brings her passion for knowledge, creativity, and the arts to all her ventures.\n\n

Pietro MILLI<\/h1>\nPietro Milli holds a Ph.D. in Musicology and is a research associate at the GRHis laboratory (University of Rouen Normandy). He is the author of articles on 20th and 21st-century music, program notes for the Paris Opera, as well as literary translations (L\u00e9on-Paul Fargue, Nicola Abbagnano, etc.). He also collaborates with Laurent Feneyrou in the framework of Triestiana<\/i>, a publishing house that edits and publishes bilingual collections of Triestine poetry.\n\n

Aur\u00e9lie MOREAU<\/h1>\nProducer of radio programs on France Musique, a station of the Radio France group, since 2016. Trained as a pianist, Aur\u00e9lie Moreau attended the Conservatory and the University of Geneva. She also collaborates with the musical magazines \u00ab\u00a0Classica\u00a0\u00bb and \u00ab\u00a0Pianiste,\u00a0\u00bb while participating in the program \u00ab\u00a0La Tribune des critiques de disques.\u00a0\u00bb In 2019, she was designated to take over part of Fr\u00e9d\u00e9ric Lod\u00e9on’s daily slot on France Musique, initially with a program playfully titled \u00ab\u00a0Le van Beethoven\u00a0\u00bb to celebrate the composer’s 250th birthday. The program was later renamed \u00ab\u00a0Stars du classique.\u00a0\u00bb During 2023, Aur\u00e9lie Moreau dedicated a monthly program to Maria Callas for the centenary of \u00ab\u00a0La Divina’s\u00a0\u00bb birth.\n\n

Cristiana NATALI<\/h1>\nCristiana Natali is an associate professor in the Department of History of Cultures and Civilizations at the University of Bologna. She teaches Anthropology of South Asia, Anthropology of Dance, and Ethnographic Research Methodologies. She conducted research in the territories of the LTTE (Liberation Tigers of Tamil Eelam) in Sri Lanka between 2002 and 2006 and has worked with Tamils in the diaspora, particularly those residing in Italy, since 2000. Among her works are Sabbia sugli d\u00e8i. Pratiche commemorative tra le Tigri tamil (Sri Lanka)<\/i>, CLUEB, 2020, and Percorsi di antropologia della danza<\/i>, Cortina, 2009. At the University of Bologna, she is also responsible, in collaboration with Roberta Bonetti, for the REAL lab site and is a member of the interdisciplinary research group Performing robots.\n\n

Dani\u00e8le PISTONE<\/h1>\nEmeritus Professor (Sorbonne University) and member of IReMus (Institute for Music Research), responsible for publications of the French Musical Observatory (OMF, 1991-2015) and the \u00ab\u00a0Musique-Musicologie\u00a0\u00bb collection of Honor\u00e9 Champion editions (since 1976). Specialist in French musical works (19th and 20th centuries) in their relationships to contexts, notably historical, literary, or aesthetic, she has dedicated various works to these questions: 25 years of operatic creations in France (1990-2015)<\/i>, OMF, 2015; Notes on the musical life of the 1990s according to six indexed French magazines<\/i>, ibid., 2015; Le Paris d\u2019\u00e9t\u00e9. Music and society in Trouville-sur-mer from 1830 to 1914<\/i>, L\u2019Harmattan, 2019; Prospectives musicologiques<\/i>, ibid., 2019; Nuit et musique<\/i> (forthcoming, ibid.).\n\n

David POULIQUEN<\/h1>\nPh.D. in Music, graduated from the University of Rennes 2, and Ph.D. in Human Sciences, graduated from the University of Modena and Reggio Emilia, David Pouliquen is interested in the relationships between music, languages, theater, and voice. Specialist in Shakespeare at the opera, his works deal with musical and comparative dramaturgy. His methodological approach is based on linking academic research and artistic practices (singing, acting, staging). This originality stems from his training as a lyric artist. David Pouliquen is a student of Richard Cowan and Mich\u00e8le Command.\n\n

Philippe ROCQUET<\/h1>\nMember of the Angers Academy since 1981, Philippe Rocquet is currently president of the Federation of Learned Societies of Maine-et-Loire. After serving as the Representative of the French Navy in Maine-et-Loire (Naval Military Authority) from 1984 to 2000, Philippe Rocquet is also Representative of ACORAM in Maine-et-Loire, with the rank of Captain. President of the Federation of Lyric Associations of the West from 1993 to 2010 and, in particular, president of the Friends of Lyric Art in Angers from 1976 to 2012, he practiced as a dentist in Angers from 1970 to 2015.\n\n

St\u00e9phane SENECHAL<\/h1>\nSt\u00e9phane S\u00e9n\u00e9chal, initially a student at the Paris Geopolitics doctoral school (under the direction of Yves Lacoste), is a French tenor and stage director, specializing in the French repertoire ranging from French Melody to opera and operetta. He gained worldwide recognition during the COVID-19 pandemic by singing at his window in Paris every evening. The event was covered by the global press, praising his solidarity and artistic gesture. The most prestigious media rankings of 2020 and 2021, including those of CNN, ABC News, World News, AP News, Euronews, Reuters, The Star, The San Francisco Chronicle, The Washington Post, BBC News, The Sun, Le Parisien, Le Figaro, LCI, Nouvel Obs, France 24, rank him among the most notable personalities of 2020 and 2021. A student of Jocelyne Taillon, Mady Mespl\u00e9, Gabriel Bacquier, and Camille Maurane, it was his meeting with tenor Michel S\u00e9n\u00e9chal that introduced him to R\u00e9gine Crespin and Montserrat Caball\u00e9, as well as pianist and vocal coach Janine Reiss, which determined his vocation as a lyric artist, which he also refined under the guidance of musicologist Roland Mancini. St\u00e9phane S\u00e9n\u00e9chal currently publishes articles for ODB Op\u00e9ra under the direction of musicologist J\u00e9r\u00f4me Pesqu\u00e9. He was distinguished in May 2016 by the prestigious American Guild of Musical Artists (AGMA) and elevated to the rank of Knight of the Arts and Letters of the French Republic on May 12, 2021.\n\n

Gino SITSON<\/h1>\nGino Sitson (aka Pierre-Eug\u00e8ne Sitchet) is a vocalist, composer, and musicology researcher. A visiting professor at the State University of Haiti and a research associate at IReMus (Universit\u00e9 Paris-Sorbonne, CNRS) and LADIREP, he directs the Polyvocal Research Laboratory in New York. His research focuses on musical cognition, vocal expressivity, and the transmission of music from the Black diaspora, with a particular interest in Gwoka. Holding a doctorate in musicology from Universit\u00e9 Paris-Sorbonne, he has taught at Columbia University, Florida Memorial University, Long Island University, and other institutions. He is the author of Santiman et lokans dans le Gwoka<\/i> (Delatour, 2021) and the first annotated bibliography of music in Guadeloupe: De la musique des natifs cara\u00efb\u00e9ens \u00e0 la naissance du Gwoka<\/i> (Neg Mawon, 2023).\n\n\n

Cinzia TOSCANO<\/h1>\nCinzia Toscano holds a Ph.D. in Visual Arts, Performing Arts, and Media Arts. She is primarily interested in contemporary theater and particularly in the interplay between performing arts and technology. Since 2014, she has been part of the editorial committee of the journal \u00ab\u00a0Antropologia e teatro\u00a0\u00bb and, since its creation, of the network \u00ab\u00a0Arti digitali dal vivo.\u00a0\u00bb She combines her research activity with organizing cultural events and editorial initiatives.\n\n

Craig WICH<\/h1>\nCraig Wich performs as a singer, conducts, and teaches singing since 1979. He is the founder and artistic director of the Opera Laboratory Theater Company, a nationally renowned organization, the founder and artistic director of the Craig Wich Studios of Performing Arts, and has been a member of the voice faculty at the Boston Conservatory of Music since 1989. Additionally, Craig Wich has worked with prestigious organizations such as the Boston Lyric Opera, the Museum Of Fine Arts, Boston, the Boris Goldovsky Opera, and the Library of Congress in Washington, D.C. Many of Craig Wich’s students have gained national and international recognition in opera, musical theater, and other popular venues. They regularly perform at the Metropolitan Opera, Broadway, and as recorded artists.\n\n<\/div>\n<\/span>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

THEMATIC ISSUES Revue DCLP ABOUT THE AUTHORS (in alphabetical order) Catherine AFTALION Secretary General of the Maria Callas Endowment Fund and a senior executive in insurance, Catherine Aftalion has been passionate about music since her youth and is a trained pianist with several competitions at the advanced level to her credit. She is committed to […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[4],"tags":[],"_links":{"self":[{"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/posts\/378"}],"collection":[{"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/comments?post=378"}],"version-history":[{"count":11,"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/posts\/378\/revisions"}],"predecessor-version":[{"id":745,"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/posts\/378\/revisions\/745"}],"wp:attachment":[{"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/media?parent=378"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/categories?post=378"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dclp.eu\/en\/wp-json\/wp\/v2\/tags?post=378"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}