PARTICIPANTS.

Daniel Albright is the Ernest Bernbaum Professor of Literature at Harvard University. His research interests include theories and strategies of comparative arts, Shakespeare and music, Surrealism and British literature, and Synoptic Modernism. He is the author of, among other titles, Modernism and Music: An Anthology of Sources (University of Chicago P, 2004); Untwisting the Serpent: Modernism in Music, Literature, and the Visual Arts (University of Chicago P, 2000); Quantum Poetics: Yeats, Pound, Eliot, and the Science of Modernism (Cambridge UP, 1997), and Stravinsky: The Music-Box and the Nightingale (Gordon and Breach, 1989).

Karol Berger is the Osgood Hooker Professor of Fine Arts at Department of Music, Stanford University. His research interests and publications encompass the history of music aesthetics and theory, Austro-German music from 1700 to 1900, and vocal polyphony from 1400 to 1600. The winner of the 1988 Otto Kinkeldey Award of the American Musicological Society, he is the author of A Theory of Art (Oxford UP, 2000), Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity (California UP, 2007), and co-editor of Music and the Aesthetics of Modernity: Essays (Harvard, 2005).

Barbara Burgdorf is Concertmaster of the Bavarian State Orchestra of the Bavarian State Opera, a position she has held since 1992. She studied in Karlsruhe, Freibourg and at the Juilliard School of Music in New York. She has been prize winner in many international violin and chamber music competitions and performs as a soloist in addition to her orchestra work. She is also Primarius of the Schumann String Quartet of Munich.

Ilias Chrissochoidis is a Research Associate at the ESRC Centre for Economic Learning and Social Evolution (UCL) and an Early Career Fellow at the Institute of Musical Research, University of London. A Handel specialist, he has conducted extensive research on the composer's early reception in leading centers of 18th-century studies (Stanford, Harvard, Yale, UT-Austin, Huntington, Folger Shakespeare Library). In Fall 2010 he joins the Kluge Center at the Library of Congress as an American Council of Learned Societies Fellow. His current and forthcoming projects include a volume of Handel essays, a monograph on the translation of English Oratorio from commercial entertainment to national treasure, and the first complete edition of the Count of Saint Germain's music.

John Deathridge is King Edward Professor of Music at King's College, London, and has also taught at the Universities of Cambridge, Chicago and Princeton. His main research interests are German music, in particular Richard Wagner, and social theory. He is the author of Rienzi (Oxford UP, 1977) and Wagner Beyond Good and Evil (California UP, 2008), and co-author of The New Grove Wagner, the WWV: Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen, and the Wagner Handbook. He is also co-editor of a new critical edition of Lohengrin which appeared as an Eulenburg score in 2007.

Cornel Franz has worked as an opera director in Berlin, Hamburg, LA, Paris, Vienna and many other opera houses throughout the world. He is now Professor and Head of the Directing Department at the Bayerische Theaterakademie in Munich.

Thomas S. Grey is Professor of Music and (by courtesy) German Studies at Stanford University. His work centers on Wagner and 19th-century opera, the history of musical aesthetics and criticism, Romantic music and visual culture. He is the author of Wagner's Musical Prose: Texts and Contexts (Cambridge UP, 1995) and editor and co-author of Richard Wagner: The Flying Dutchman (Cambridge UP, 2000), Cambridge Companion to Wagner (Cambridge UP, 2008), and Richard Wagner and His World (Princeton UP, 2009).

Ernst-Wilhelm Händler is the author of several novels. He studied Philosophy, Management Science and Economics at the University of Munich where he received a PhD in 1980. He is the recipient of the 1999 Erik-Reger Prize and the 2006 Hans-Erich-Nossack Prize. His latest novel, Welt aus Glas, was published by Frankfurter Verlagsanstalt in 2009.

Sarah Hibberd is Associate Professor of Music at the University of Nottingham. Her main research interests are French opera and other forms of music theatre (including pantomime, melodrama, ballet) in the first half of the nineteenth century; music and visual cultures (including film, painting); staging practices; historiography. She is the author of French Grand Opera and the Historical Imagination (Cambridge, 2009), and is currently editing a volume of collected essays for Ashgate, Melodramatic Voices: Understanding Music Drama.

Steffen Huck is Professor of Economics at UCL. The recipient of a 2004 Philip Leverhulme Prize, his research has investigated the role of trust and fairness for competition as well as issues in bounded rationality and evolutionary game theory. More recently, he has worked on counterfactuals in Richard Wagner's Tannhäuser and belief systems in Lohengrin.

Sir Peter Jonas was General Director of English National Opera from 1985 to 1991. In 1993 he became General Director of the Bavarian State Opera, a post he held until he retired in 2006. He has a first degree in English Literature and studied Opera and Music History as a postgraduate. In 1974 he joined the Chicago Symphony Orchestra where he was Director of Artistic Administration before he moved to ENO. He is a Fellow of the Royal Society of Arts and the Royal College of Music. He was knighted on New Year's day 2000. He holds teaching posts at the Universities of St. Gallen and Zurich and the Bayerische Theaterakademie.

Roberta Montemorra Marvin is Director of the Institute for Italian Opera Studies at the University of Iowa, where she is also a Research Associate and an Associate Professor. Her research focuses on Verdi and Rossini and 19th-century operatic culture. The recipient of the 1991 Premio Internazionale "Giuseppe Verdi" for her study Verdi the Student – Verdi the Teacher (Istituto Nazionale di Studi Verdiani, 2010), she has produced critical editions of Verdi's I masnadieri (2001) and his Inno delle nazioni (2006), serves as Associate General Editor for The Works of Giuseppe Verdi, and has co-edited Verdi 2001 (Leo S. Olschki, 2003), Historical Musicology: Sources, Methods, Interpretations (University of Rochester Press, 2004), Operatic Migrations: Transforming Works and Crossing Boundaries (Ashgate, 2006), Fashions and Legacies of Nineteenth-Century Italian Opera (Cambridge UP, 2010).

Wieland Müller is Professor of Economics at Tilburg University. He studied Mathematics in Dresden and Berlin before pursuing a PhD in Economics at Humboldt University. His main research interests are in game theory, industrial organization, and experimental economics. More recently, he has worked with Heike Harmgart and Steffen Huck on rational choice in Richard Wagner's operas.

Eytan Pessen is designate Director of Opera at the Semperoper in Dresden. He was Casting director at Stuttgart State Opera which, during his time, was voted twice opera house of the year. He is an artistic consultant for Ruhr 2010, a pianist and vocal coach, teaching at the Bayreischer theaterakademie, the Frankfurt Opera and the Scuola d'opera in Bologna.

Elisabeth Schweeger is Director of the Kunstfestspiele Herrenhausen, an interdisciplinary arts festival in Hannover. This year's festival theme is The Power of Games. Previously, she was Director of the Schauspielhaus Frankfurt amd Chief Dramaturg at the Bavarian State Theatre. She is the recipient of the 1999 Theatre Prize of the City of Munich.

Nicholas Till is a theatre artist, theorist and historian working in opera and music theatre. As a theatre artist his works have been presented by the Royal Opera Garden Venture, English National Opera Studio, Forum Neues Musiktheater of Stuttgart Opera, DMCE Paris and English Heritage. His publications include Mozart and Enlightenment: Truth, Virtue and Beauty in Mozart's Operas (Faber/W.W.Norton, 1992), and he is currently editing The Cambridge Companion to Opera Studies (CUP). He is co-director of the experimental theatre company Post-Operative Productions, and is Professor of Opera and Music Theatre at the University of Sussex, where he is Director of the Centre for Research in Opera and Music Theatre.