ÌÇÐÄVlog

Voice and Intermediality 

• Andrea Smith (University of Suffolk), ‘Theatrical voice beyond the footlights: broadcasting the stage on radio
• Pim Verhulst (University of Reading), ‘Intermedial Voices in the Plays of Harold Pinter and Caryl Churchill’
• Richard Elliott (Newcastle University), ‘Nonhuman songholders and singing machines

Vocal Pedagogy: Contemporary Perspectives 

• Mark Hamilton (Regent’s University London), ‘Radical Quietude: Breath, Vibration and Integration in Nadine George Voice Work’
• Melinda Szuts (Trinity College Dublin), ‘Interpreting Text and Music with the Bodymind: The Choreographic Approach’

Embodying the Character 

• Anders Muskens (University of Tübingen) and Laila Cathleen Neuman (Conservatory of Amsterdam) ‘Virtue in Distress: Cleopatra as a Sentimental Heroine in Melodrama of the Mannheim School’
• Magnus Tessing Schneider (University of Gothenburg), ‘Doubling and vocal differentiation in Cavalli’s La Didone&²Ô²ú²õ±è;(1641)’
• Jed Wentz (Leiden University), ‘A Voice from the Closet: performing Byron’s Manfred in theatrical mode’

Voice and Meaning 

• James Critchley (University of Cambridge), ‘Screaming with Peter Shaffer’
• Gianluca Bocchino (Università degli Studi di Cassino), ‘The Voice as Performative Excess’
• Asli Kaymak (Erzincan University), ‘Three-Bullet Opera: Theatre of Criminal Authority’

Voicing the Diva 

• Malo Maleszka (Lyon 2 University), ‘Paper Voices: collecting and analysing female opera singers’ writings’
• Ivan Ćurković (University of Zagreb), ‘A Star Was Born in Nuremberg? Dunja Vejzović and Her Career in the Period 1971-1977’

Vocal Pedagogy: Historical and ‘Continuous’ Perspectives

• Rebecca Troy (Independent Researcher), ‘Considering the Vocal Treatises of Late-Operatic Castrati’
• Francesco Venturi (Kingston University London), ‘The Transformability of Voices. Lessons on vocal learning from Italian opera singing’

Keynote 

• Roger Freitas (Eastman School of Music, University of Rochester), ‘Barbara Strozzi: the Allure of an Unsung Voice’

Vocal Authority 

• Vanessa Romao (University of Toronto), ‘Vocal Performance and Authorial Politics in Philomel (1964) and Thema (Omaggio a Joyce) (1958/9)’
• Russell Burdekin (Independent Researcher), ‘Tempo and Tradition: Rethinking the Final Cabaletta in Maria Stuarda’
• Ana Wegner (Universidade de São Paulo/FAPESP) and Cesar Lignelli (Universidade de Brasília), ‘Voice studies in the global south: editorial challenges of Revista Voz e Cena&²Ô²ú²õ±è;(µþ°ù²¹³ú¾±±ô)’

(Between) Singing and the Spoken Voice 

• Jacques Dupuis (Purdue University Fort Wayne), ‘Sophie Schröder in Prague: Forging Artistic Identities through Vocal Modalities’
• Fatima Volkoviskii Barajas (Independent Researcher), ‘Vocality in Transit: Recording Practices and the Formation of Musical Genre in Early Spanish Zarzuela’     
• Leonardo Mancini (University of Turin), ‘The young Ernest Legouvé and the origins of his 
• ideas on declamation’
• Hippolyte Broud (University of Exeter), ‘The Afterlife of a Voice: Sarah Bernhardt through Mary Marquet’

Lessons on Embodiment

• Laurence Corbel (University of Rennes 2), ‘What voice does to thought’
• Karine Leblanc Sarrade (Université Paris 8), ‘Gestural Polyphony: Sancari as Artistic Exegesis in Odissi Narrative Repertoire’

The Operatic Voice: Class and Gender 

• Annelies Andries (Utrecht University), ‘Parbleu…  Sapperment…: Voice, Dialect, and Class in Theatrical Translation’ 
• Matthew Franke (Howard University), ‘Turiddu, Des Grieux, and men’s emotions in late nineteenth-century opera’

Vocal Pedagogy and Emotions 

• Louisa Morgan (ÌÇÐÄVlog), ‘Affective Athleticism in the Vocal Athlete: Performing Emotional Roles’
• Karen Quigley (University of York), ‘Voices Before Singing: Theatre Pathways into Vocal Confidence’

Voice and Popular Musical Theatre 

• Ben Macpherson (University of Portsmouth), ‘Voicing time and place: a cappella as oblique vocality in musical theatre’
• Faye Rigopoulou (Independent Researcher), ‘The Ageing Female Voice as Scapegoat in Musical Theatre Dramaturgies’