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Steering Committee – Charter Members

Fulvia Morabito
President

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.

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Massimiliano Sala
Vice President

A graduate in musicology from the University of Pavia (Italy), with a DMA in piano, Massimiliano Sala is Secretary Treasurer of the Italian National Edition of Pietro Antonio Locatelli’s Complete Works, 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. He is also a founder of Ad Parnassum. A Journal on Eighteenth- and Nineteenth-Century Instrumental Music, on the editorial committee of the series Boccherini Studies (Ut Orpheus Edizioni), General Editor of the series ‘Contemporary Composers’, ‘Music, Science and Technology’ (Brepols Publishers) and Quaderni Clementiani (Ut Orpheus Edizioni). 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 Unpublished Correspondence and Concert Advertisements’ (Bologna 2012), ‘Compositori e funzionari.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 ‘Jan Ladislav Dussek’ and ‘Ildebrando Pizzetti’ for «Oxford Bibliographies Online» (OUP).

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Roberto Illiano
Secretary-Treasurer

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 ‘Staging and Dramaturgy: Opera and the Performing Arts’ (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 Journal (Ut Orpheus Edizioni), he has published a variety of writing on 19th- and 20th-century music, in particular on Luigi Dallapiccola and Italian music under the Italian fascism. He edited, among others, the volumes: Italian Music during the Fascist Period (2004), Music and Dictatorship in Europe and Latin America (with M. Sala, 2009), Protest Music in the Twentieth Century (2015), Music and Figurative Arts in the Twentieth Century (2016).

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Christian Speck
Scientific Director

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 Emeritus 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.

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Honorary Members

Lorenzo Frassà

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. 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). 

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Massimiliano Locanto

Massimiliano Locanto is Associate Professor in History of Music at the University of Salerno. In 2000 he received a grant from the Paul Sacher Foundation in Basel and in 2003 he earned a PhD. in Musical Philology, with a dissertation on Igor Stravinsky’s serial compositions. He has taught at the University of Pavia, Faculty of Musicology, as adjunct professor for Musical analysis (2003-2005). Since 2014 he teaches in the 1st level Master in Music Theory and Analysis of the Università degli Studi della Calabria. His research interests and publications are in two distinct areas: the history of medieval monody — Gregorian chant, liturgical tropes, early Italian lyric with music – and twentieth-century music, with a particular focus on the works of Igor Stravinsky and on the relationship between music theories, compositional techniques, and scientific thought. He also wrote on various twentieth century composers (Iannis Xenakis, Henri Pousseur, Karel Goeyvaerts, Luciano Berio), and on Giuseppe Verdi, in particular on the music-text relationship in Falstaff and on Igor ‘Stravinsky’s reception of Verdi’s music. He edited the volumes: Igor Stravinsky: Sounds and Gestures of Modernism (Turnhout, Brepols, 2014), Composition and Improvisation in Fifteenth-Century Music (with Julie E. Cumming and Jesse Rodin) (Lucca, LIM, 2017) and (with Sofia Lannutti) Tracce di una tradizione sommersa. I primi testi lirici italiani tra poesia e musica (Firenze, Sismel, 2005). His articles and reviews appeared in various national and international journals such as Music Analysis, Europa Orientalis, Il Saggiatore Musicale, Revue Belge de Musicologie, Musica e StoriaRivista Internazionale di Musica SacraRivista di Analisi e Teoria Musicale. In 2016 he was awarded the “Renato Musto” prize for Musicology under the patronage of the Rector of Naples University “Federico II”.

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Simone Luti

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. He is currently the Artistic and Musical Director of AEDO: he recently conducted Suor Angelica, Gianni Schicchi, Così fan tutte , Don Giovanni, The turn of the screw, Le nozze di Figaro, Butterfly, La Cenerentola and Die Zauberflote, in Lucca and in Amsterdam. He is also the Head Coach of Opera program at Western University, London Ontario.

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Michela Niccolai

Michela Niccolai, Ph.D. in Musicology (Saint-Étienne / Pavie), currently works on the repertoire of cabaret songs, music for the shadow theater and the music-hall in Montmartre (ca. 1880-1930). At the University of Montréal (OICRM) she completed a post-doctorate project on the editing of Charpentier’s various musical and social writings (forthcoming, Vrin, MusicologieS). She published La Dramaturgie de Gustave Charpentier (2011) and Giacomo Puccini et Albert Carré: «Madame Butterfly» à Paris (2012, First Prize ‘Gouden Label’ Award 2014, Klassiek Centraal), and Debussy’s «Pelléas et Mélisande»: The Staging by Albert Carré (2017). She edited the books Verdi Reception (with L. Frassà, 2013), Gustave Charpentier et son temps (with J.-C. Branger, 2013), Orchestral Conducting in Nineteenth Century (with R. Illiano, 2014) and Musical Theatre in Europe 1830-1945 (with C. Rowden, 2017). His last publication, written with Charlotte Ginot-Slacik, Musiques dans l'Italie fasciste (1922-1943), has just come out Fayard (2019). Michela Niccolai teaches the history of 19th century music and the history of opera staging at the Universities of Paris 4 and Paris 3.

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Leon B. Plantinga

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.

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Rudolf Rasch

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. He is still affiliated with Utrecht University as a guest researcher. 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), Understanding Boccherini’s Manuscripts (a collection of essays edited, 2014) and Muziek in de Republiek: Muziek en maatschappij in de Republiek der Zeven Verenigde Nederlanden 1572-1795 (a detailed overview of musical life in the Dutc Republic, 2018). He is the editor of the Duetti per 2 Violini Op. 3 (2007), the Sonate per tastiera e violino Op. 5 (2009) and the Trii per 2 violini e violoncello Op. 1 (2014) in the complete critical edition of the works of Luigi Boccherini (2007, 2009, 2014). Since 2014 he is general editor of the Opera Omnia Francesco Geminiani, following up the work begun by Christopher Hogwood. Within this series he has edited the Sonate a violino, violone e cembalo Op. 1 (2015), the Concerti grossi after Corelli’s Sonatas Op. 5 (2017, with Christopher Hogwood) and the Guida armonica (2018, with Richard Maunders). He is general editor of the series Muziek uit de Republiek, published by the Royal Society for Dutch Music History, with editions of Dutch music from the seventeenth and eighteenth centuries. He was 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 several musicological periodicals such as Ad Parnassum, the Revue Belge de Musicologie and the Journal of the Alamire Foundation. He likes to play the violin and the pianoforte as a dilettante.

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Sophie Louise Roland

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. Dr. Roland currently holds the rank of Associate Professor of Music in the Don Wright Faculty of Music at the University of Western Ontario, where she is Chair of the Music Performance Studies Division. She is also the General Director of the both the Canadian Operatic Arts Academy and the Accademia Europea Dell’Opera.

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Luca Lévi Sala

Luca Lévi Sala is Professeur associé at the Université de Montréal. He has been Visiting Researcher at New York University in 2017 and Visiting Research Fellow at Yale University in 2015-2016. A graduate in musicology from the University of Pavia (Italy), he was awarded two scholarships at the Jagiellonian University of Kraków (Poland) and he gained a Ph.D. in Musicology at Poitiers University (France). Founding co-editor of the Journal Ad Parnassum. A Journal on Eighteenth- and Nineteenth-Century Instrumental Music (Ut Orpheus), 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. He is General Editor of the musicological series Ad Parnassum Studies (Ut Orpheus), Editor-in-Chief of the Journal of Music Criticism (www.music-criticism.com) and General Editor of the series Music, Criticism & Politics (Brepols). He has published a range of writings, reviews and reports (serving 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 MusicAnalecta Musicologica, Oxford Bibliographies Online, MGG, Grove Music Online and Nineteenth-Century Music Review (CUP, forthcoming). Together with Rohan H. Stewart-MacDonald, he has recently published the book Muzio Clementi and British Musical Culture: Sources, Performance Practice and Style (New York, Routledge, 2019) and the critical edition of Clementi’s “Viennese” Sonatas Opp. 7-10 (Bologna, Ut Orpheus, 2018). He is presently preparing the new Thematic Catalogue with updated Bibliography for Each Work, Documents and Iconography relevant to Muzio Clementi’s Life (Italian National Edition of Muzio Clementi’s Complete Works XV).

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Jennifer Walker

Jennifer Walker is a Ph.D. candidate in Musicology at the University of North Carolina at Chapel Hill, where she is completing a dissertation entitled “Sounding the Ralliement: Republican Reconfigurations of Catholicism in the Music of Third Republic Paris, 1880–1905” under the direction of Annegret Fauser. Her research reevaluates music’s role in the relationship between the French state and the Catholic church at the end of the nineteenth century by offering an alternative to the prevailing epistemological emphasis on divisions between the church and the secular Third Republic. Case studies ranging from opera and puppet theater to Parisian parish churches and Montmartre’s famed cabarets demonstrate how composers and critics from opposing ideological factions dismantled this binary. They instead used musical composition and performance to craft a brand of Frenchness that was founded on secular Republican ideology alongside the heritage of the Catholic church. She is a recipient of the prestigious Mellon/American Council of Learned Societies Dissertation Completion Fellowship (2018–19) and was the first music student to be named the Harold J. Glass USAF Graduate Fellow in Music (2017–18). Her research has also been supported by an M. Elizabeth C. Bartlet grant from the American Musicological Society; her work on Darius Milhaud’s opera Esther de Carpentras was awarded the Student Presentation Award from the AMS-Southeast chapter for 2014-2015. She has presented her work at numerous international and national conferences, including the conference “L’Abbé Gounod: French Sacred Music During the Romantic Era”, organized by the CSOOLB in Lucca, and the 2018 Annual Meeting of the American Musicological Society. Prior to coming to UNC, she taught choral literature at East Tennessee State University, multiple courses at the community college level in Tennessee and Kentucky, and was on the faculty of the Pre-College Division at Stony Brook. She has reviewed the volumes Musical Theater in Europe 1830–1945 (ed. Michela Niccolai and Clair Rowden; Brepols: 2017) and The Many Faces of Camille Saint-Saëns (ed. Michael Stegemann, Brepols: 2018). Other essays appear in Perspectives on the French Musical Press in the Long Nineteenth Century (ed. Mark Everist; CSOOLB, MCN Studies 1: 2019) and in the forthcoming volume Religious Music in Nineteenth-Century France.

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