The Verdi Conference
Evan Baker is an independent opera historian whose most recent book, From the Score to the Stage: An Illustrated History of Continental Opera Production and Staging (published by the University of Chicago Press, 2013) received the PROSE Award by the Association of American Publishers as the best book in Music & Performing Arts. He is presently working on a new book on Gustav Mahler as Director of the Vienna Court Opera.
Stefano Castelvecchi teaches at the University of Cambridge. He has published critical editions of works by Verdi and Rossini, and articles on eighteenth- and nineteenth-century opera. He is author of Sentimental Opera: Questions of Genre in the Age of Bourgeois Drama (Cambridge 2013) and editor of Abramo Basevi, The Operas of Giuseppe Verdi  (Chicago 2014).
Mark Everist is Professor of Music at the University of Southampton. His research focuses on the music of western Europe in the period 1150-1330, Opera in France in the nineteenth century, Mozart, reception theory, and historiography. Author of five monographs as well as editor of several more, he is the recipient of awards from the American Musicological Society, was elected a fellow of the Academia Europaea in 2012. Professor Everist is the President of the Royal Musical Association.
Linda B. Fairtile is the Head of Parsons Music Library at the University of Richmond and a Co-Director of the American Institute for Verdi Studies. She is the author of Giacomo Puccini: A Guide to Research and the editor of Otello for The Works of Giuseppe Verdi. Her edition of Puccini’s Edgar, in its original four-act state, had its world premiere in Turin in 2008.
Andreas Giger is the Louise and Kenneth L. Kinney Professor of Opera at Louisiana State University. He is the author of Verdi and the French Aesthetic (Cambridge, 2008) and the editor of the critical editions of Verdi’s I due Foscari (with Ilaria Narici), Un ballo in maschera (Chicago and Ricordi), and Leoncavallo’s Pagliacci (for Bärenreiter).
Helen M. Greenwald has written extensively on vocal music of the 18th to 20th centuries. She is the editor of the Oxford Handbook of Opera (Oxford University Press, 2014) as well as the critical editions of Verdi’s Attila, and Rossini’s Zelmira. She teaches at the New England Conservatory in Boston.
Francesco Izzo is Professor of Music at the University of Southampton (UK). He is the author of Laughter between Two Revolutions: Opera Buffa in Italy, 1831-1848 (2013). He serves as co-director of the American Institute for Verdi Studies and is the General Editor of the critical edition The Works of Giuseppe Verdi (University of Chicago Press). His edition of Un giorno di regno received its world premiere at Sarasota Opera in 2013.
David Lawton has been a guest conductor in numerous regional American opera companies. A noted Verdi scholar, he has edited Il trovatore, Le trouvère, and Macbeth in the The Works of Giuseppe Verdi (University of Chicago Press). In 2005 the American Musicological Society awarded him the Claude Palisca Prize for his critical edition of Macbeth. Dr. Lawton is Professor of Music at Stony Brook University, where he heads the opera program and teaches music history.
Roberta Montemorra Marvin is the author of The Politics of Verdi’s “Cantica” and Verdi the Student – Verdi the Teacher (awarded the Premio Internazionale Giuseppe Verdi). She has edited seven books, including The Cambridge Verdi Encyclopedia, and two volumes in The Works of Giuseppe Verdi.
Emily Richmond Pollock is the Class of 1947 Career Development Professor as an Assistant Professor in the Music and Theater Arts Section at the Massachusetts Institute of Technology. Her primary research area is opera in the twentieth century, particularly in Germany and the United States.
Hilary Poriss is Associate Professor of Music and Associate Dean of Academic and Faculty Affairs in the College of Arts, Media and Design at Northeastern University. She is the author of Changing the Score: Arias, Prima Donnas, and the Authority of Performance (2009) and co-editor of The Arts of the Prima Donna in the Long Nineteenth Century (2012) and Fashions and Legacies of Nineteenth-Century Opera (2010).