With a diploma in piano (Conservatorio Luigi Boccherini, Lucca) and a degree with distinction and the right of publication in musicology (University of Pavia), in 1994 she joined the editorial staff of the Stichting-Fondazione Pietro Antonio Locatelli (Amsterdam-Cremona) as editor of the Locatelli Opera Omnia. In 2003 she was nominated ‘Cultore della materia’, i.e. expert, in the subject "Baroque and Classical Music" by the University of Pavia. In 2005 she was among the founders of the Centro Studi Opera Omnia Luigi Boccherini in Lucca. She is an editor of Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music and of Ad Parnassum Studies (Ut Orpheus Edizioni). She is General Editor of the series Monumenta Musica Europea and Studies on Italian Music History (Brepols Publishers). She is a member of both the scientific committee of the Italian National Edition of Luigi Boccherini's Complete Works (Ut Orpheus Edizioni) and the Advisory Board of the Francesco Geminiani's Opera Omnia (Ut Orpheus Edizioni). She is currently President of the Centro Studi Opera Omnia Luigi Boccherini, Lucca.
A graduate in musicology from the University of Pavia (Italy), with a DMA in piano, Massimiliano Sala is on the Board of the Scholarly Committees of the Italian National Edition of Muzio Clementi’s Complete Works and Italian National Edition of Luigi Boccherini's Complete Works. In addition he is Secretary-Treasurer of the Italian National Edition of Pietro Antonio Locatelli’s Complete Works. He is also a founder of Ad Parnassum. A Journal on Eighteenth- and Nineteenth-Century Instrumental Music (Ut Orpheus Edizioni) and on the editorial committee of the series Boccherini Studies and Quaderni Clementiani. His publications include articles on eighteenth- to twentieth-centuries music, such as 'Giovanni Battista Viotti's Quartets from Paris to London' (Poznań 2006), ‘New Evidence on Dussek’s Life and Works. Unpublished Correspondence and Concert Advertisements’ (Bologna 2012), ‘Compositori e funzionari. Una riflessione sulla politica fascista del consenso’ (Kassel 2012), ‘The Politic of Spectacle: Italian Music and Fascist Propaganda’ (Belgrade, 2012), ‘Italian Music and Racial Discourses during the Fascist Period’ (CUP 2007). He has contributed articles for Die Musik in Geschichte und Gegenwart 2. He is contributing the articles on ‘Muzio Clementi’ and ‘Music and Italian Fascism’ for «Oxford Bibliographies Online» (OUP). He is contributing the articles on ‘Jan Ladislav Dussek’, ‘Giovanni Battista Viotti’ and 'Ildebrando Pizzetti' for «Oxford Bibliographies Online» (OUP).
Roberto Illiano is General Secretary of the Centro Studi Opera omnia Luigi Boccherini-Onlus (Lucca) and President of the Italian National Edition of Muzio Clementi’s Complete Works. He collaborated with the Stichting-Fondazione Pietro Antonio Locatelli of Amsterdam-Cremona since 1999. General Editor of the series ‘Speculum Musicae’ and ‘Mise en scène’ (Brepols Publishers), he is a member of the advisory board of the Italian National Edition of Luigi Boccherini’s Complete Works (Secretary Treasurer). A founder of «Ad Parnassum. A Journal on Eighteenth- and Nineteenth-Century Instrumental Music» (Ut Orpheus Edizioni), he is also on the advisory board of the ‘Quaderni Clementiani’ and ‘Collección Musica’ (Editorial Doble J). He has published a variety of writing on 19th- and 20th-century music, and has edited the volumes «Muzio Clementi. Studies and Prospects» (with L.L. and M. Sala, 2002), «Italian Music during the Fascist Period» (2004), «Music and Dictatorship in Europe and Latin America» (with M. Sala, 2009), «Instrumental Music and the Industrial Revolution» (with L.L. Sala, 2010), «Jan Ladislav Dussek (1760-1812): A Bohemian Composer en voyage through Europe», (with R. H. Stewart-MacDonald, 2012), «VIVA V.E.R.D.I.: Music from Risorgimento to the Unification of Italy» (2013), «Orchestral Conducting in the Nineteenth Century» (with M. Niccolai, 2014). He is contributing the articles on ‘Muzio Clementi’ and ‘Music and Italian Fascism’ for «Oxford Bibliographies Online» (OUP).
President of the Italian National Edition of Luigi Boccherini's Complete Works and a charter member and scientific director of the Centro Studi Opera omnia Luigi Boccherini (Lucca). He is Professor of Musicology at the University of Koblenz-Landau, Germany. Following his studies at Munich Academy of Music, he received his Ph.D. from the Munich University in 1984, with a dissertation on Boccherini's string quartets (Munich, Fink, 1987) and his Habilitation from the Tübingen University. In 1986 he discovered a twelfth Boccherini cello concerto in Naples, some cello Sonatas at the Abbey of Seitenstetten in Austria, and recently he found three new manuscripts of Concert Arias at the Biblioteca de la Catedral of Santiago de Compostela. He has contributed articles on Boccherini for The New Grove Dictionary of Music and Musicians (2001) and for Die Musik in Geschichte und Gegenwart 2.
Lorenzo Frassà is Honorary member of the Centro Studi Opera omnia Luigi Boccherini-Onlus (Lucca). He graduated in musicology at the University of Pavia/Cremona in 2003 with a dissertation in opera history entitled «Il teatro musicale di G. Rossini, 1810-1823: relazioni con le fonti e varianti d'autore: alcune considerazioni». In 2005 he founded the agency of artist representation and music promotion MAGADIS International Music Agency. In 2006 he set up, as sole administrator, the BravoMaestro company which runs the <www.bravomaestro.com> portal for the online sale of classical music. His fields of research particularly concern the operatic world in the eighteenth-twentieth centuries. He edited the volumes "The Opéra-comique in the Eighteenth and Nineteenth Centuries", Turnhout, Brepols (Speculum Musicae, 15) and "Verdi Reception" with Michela Niccolai (Studies on Italian Music History, 7). He's artistic director of the Festival Boccherini.
Massimiliano Locanto is lecturer at the University of Salerno, Faculty of Foreign Languages and Literatures, where he teaches History of modern and contemporary music. He graduated in Musicology at the University of Pavia with a dissertation on medieval liturgical tropes. In 2003 he earned a PhD in Musical Philology, with a dissertation on Igor Stravinsky. He has researched and taught at the University of Pavia, Faculty of Musicology, as adjunct professor for Musical analysis (2003-2005). His research activity took place in two distinct areas: the history of liturgical chant (liturgical tropes, monody in italian vernacular language, aspects of orality in gregorian chant); 20th-century music history, theory and analysis (in particular on Igor Stravinsky’s serial compositions, musical theory in early 20th- century and its relations to scientific thought).
Orchestral conductor and pianist, Simone Luti is quickly gaining recognition and acclaim for his musical instincts and sensitivity on the podium and at the keyboard. He has conducted on the podiums for such organizations as The Musical Festival in Ticino Locarno, Switzerland, in Albania at the Opera Theatre in Tirana, the Symphony Orchestra of Bacau, Romania, and the International Opera Theatre of Philadelphia (in Teatro degli Avvaloranti, Città della Pieve; Teatro Mancinelli, Orvieto; and The University of Performing Arts, Philadelphia). At the keyboard, Mr. Luti has performed as a solo and collaborative pianist in recitals, opera galas, and chamber groups for theatres and musical institutes throughout Italy, Austria, Switzerland, and Belgium, playing. Of note was his debut at the Lucerne Festival playing for soprano Irina Lungu.
Leon Plantinga graduated from Calvin College, Grand Rapids, Michigan, in 1957. He received a M.Mus. in piano performance from Michigan State University in 1959, and a Ph.D. in the History of Music from Yale University in 1964. On the Yale faculty from 1963 until his retirement in 2005, Plantinga served as chair of the Department of Music for ten years. For six years in the 1990s, he was the Director of the Division of the Humanities. After retirement Plantinga spent a year at the Princeton Institute for Advance Study, and is currently Interim Director of the Yale Collection of Musical Instruments. He has written widely on music of the later eighteenth and the nineteenth centuries, with books on Schumann as a music critic, a life and works study of Muzio Clementi, a history of nineteenth-century European music, and a study of the Beethoven concertos. Plantinga has published many articles and reviews in professional journals, and, lately, in the TLS of London.
Rudolf Rasch studied musicology in Amsterdam with Profs. Karel Philippus Bernet Kempers and Joseph Smits van Waesberghe. He wrote a dissertation on polyphonic carols in the Spanish Netherlands in the seventeenth century (Utrecht, 1985) and was affiliated to the Institute of Musicology of Utrecht University from 1977 until 2010, where he taught music theory, musical history of the seventeenth and eighteenth centuries, musical history of the Netherlands and organology. His main research interests are the musical history of the Netherlands, tuning and temperament questions, and the works of composers such as Corelli, Vivaldi, Geminiani and Boccherini. He has published articles, books and editions in these fields, including Music Publishing in Europe 1600-1900 (a collection of essays edited, 2005), Driehonderd brieven over muziek (letters about music written by and to Constantijn Huygens, 2007), and critical editions of the Duetti per 2 Violini Opus 3 and the Sonate per tastiera e violino Opus 5 by Luigi Boccherini (2007, 2009). He has published the critical editions of the Trii per 2 violini e violoncello Opus 1 by Luigi Boccherini (2014) and the Sonate a violino, violone e cembalo by Francesco Geminiani (forthcoming). He was or still is on the board of the Vereniging voor Nederlandse Muziekgeschiedenis, the International Musicological Society and various other musicological organisations. He is a member of the editorial board of periodical such as Ad Parnassum, the Revue Belge de Musicologie, the Journal of the Alamire Foundation and Studia Musicologica, and he is general editor of the series Muziek uit de Republiek, with editions of Dutch music from the seventeenth and eighteenth centuries. He likes to play the violin and the pianoforte as a dilettante and is the president of an amateur symphony orchestra in the Netherlands.
Hailed for her “excellence, purity of voice and emotional intensity”, Sophie Louise Roland recently sang the roles of Dido and the Sorceress in Purcell’s Dido and Æneas and as Storge in Handel’s Jeptha with American Opera Theater (Baltimore, MD), Carmen and Suzuki with Ente Concerti Città di Iglesias, Cornelia in Giulio Cesare with Orchestra London, Maddelena in Verdi’s Rigoletto with Opera York (Ontario), Madama Butterfly’s Suzuki for Pellegrini Opera (Ottawa), Madonna Capuleti and Tebaldo in the International Opera Theater’s world premiere of Romeo e Giulietta in Città della Pieve (Italy), Carmen with both American Opera Theater and Opera Lirica Italiana, Nicklausse in Les Contes d’Hoffmann with Opera Brasov, as well as the title role in Carmen with both Janiec Opera Company and Indiana University Opera Theater.
Luca Lévi Sala has been appointed as a Visiting Fellow (2015-2016) at Yale University (USA). A graduate in musicology from the University of Pavia (Italy), he was awarded two fellowships (Grant of MFAffairs Fellowship) at the Jagiellonian University of Kraków (Poland) for a research project on Mieczysław Karłowicz’s work and he gained a Ph.D. in Philosophy & Arts (Musicology) at Poitiers University (France). Founding co-editor of the Journal "Ad Parnassum. A Journal on Eighteenth- and Nineteenth-Century Instrumental Music" (Ut Orpheus Edizioni), he is currently on the Board of the Scholarly Committees of the Italian National Edition of Muzio Clementi’s Complete Works and Italian National Edition of Luigi Boccherini's Complete Works, on the advisory board of the "Hellenic journal of music, education and culture" (Greek Association of Primary Music Education Teachers) and “ArteConCiencia” (Guanajuato University). He is General Editor of the musicological series "Ad Parnassum Studies" (Ut Orpheus Edizioni) and of "Music, Criticism & Politics" [Brepols Publisher). He has published a range of writings, reviews and reports (as peer-reviewer as well) in various international books and refereed journals, including Journal of Musicological Research, Notes, Revue de musicologie, Studi Musicali, Journal of Jewish Identities, Rivista italiana di musicologia, Ad Parnassum Journal, Eighteenth-Century Music, Analecta Musicologica and he is soon contributing the articles on Muzio Clementi, Luigi Dallapiccola and Mieczysław Karłowicz to Oxford Bibliographies Online (Oxford University Press).
Honorary member of the Centro Studi Opera Omnia Luigi Boccherini, Rohan H. Stewart-MacDonald studied at St Catharine’s College, Cambridge between 1993 and 2001 and worked as Director of Studies in Music and Director of Music at Murray Edwards College, Cambridge, from 2004 until 2009. Since completing the Ph.D. he has specialized in British music of the eighteenth and nineteenth centuries, publishing New Perspectives on the Keyboard Sonatas of Muzio Clementi in 2006 (Quaderni Clementiani, 2). In 2012, with Roberto Illiano, he co-edited and contributed a chapter to the multi-author, multi-lingual Jan Ladislav Dussek: A Bohemian Composer «en voyage» through Europe (Quaderni Clementiani, 4). More recently his research interests have broadened to encompass the early-Romantic virtuoso concerto. Stewart-MacDonald performs periodically as a solo pianist, and is highly active as a choral singer.