João Pedro Cachopo is a Marie SkLodowska-Curie Fellow with a joint affiliation to the Universidade Nova de Lisboa and the University of Chicago. He earned a degree in Musicology (2005) and a PhD in Philosophy (2011) from the Faculdade de Ciências Sociais e Humanas at the Universidade Nova de Lisboa (NOVA/FCSH). Since 2011, he has been an integrated member at the Centro de Estudos de Sociologia e Estética Musical (CESEM). His research interests span the fields of musicology, opera studies, film and media studies, comparative studies, critical theory, and philosophy with a focus on issues of intermediality, spectatorship, and criticism. He is broadly interested in the relationship between aesthetics and politics; the interrelations of the arts and media; and in concepts of avant-garde, modernism, and postmodernism. He is the author of Verdade e Enigma: Ensaio sobre o pensamento estético de Adorno (Vendaval, 2013), which received the First Book Award from the Portuguese PEN Club in 2014, and the co-editor of Pensamento Crítico Contemporâneo (Edições 70, 2014), Estética e Política entre as Artes (Edições 70, 2017) and Rancière and Music (Edinburgh University Press, forthcoming in 2019). His work has also appeared in collective volumes and international peer-reviewed journals such as The Opera Quarterly and New German Critique. He has translated into Portuguese Georges Didi-Huberman, Jacques Rancière, and Theodor W. Adorno. He was a visiting scholar at the Universität Potsdam (2008), Université Paris 8 (2009), Humboldt-Universität zu Berlin (2010), University of Durham (2012) and Columbia University in the City of New York (2015). He also served as an invited professor at the Pontifícia Universidade Católica do Rio de Janeiro (2016) and the Universidade Estadual de Campinas (2016). He presented his work in Portugal, Brazil, the USA, the UK, Ireland, Germany, France, Italy, Poland, and Argentina. Currently, he is working on a monograph titled The Profanation of Opera: Music and Drama on Film, co-editing a special issue for The Opera Quarterly dedicated to operas based on films, and organizing the international conference “Opera and the City: Technologies of Displacement and Dissemination” to be held at the Teatro Nacional de São Carlos (Lisbon Opera House) on June 24-25, 2019.
Mário Vieira de Carvalho is a Full Professor of the Sociology of Music at FCSH, Chairman of the CESEM, and member of the Direction of the Europaïsche Musiktheater-Akademie (European Academy of Music-Theater). He is the author of a vast array of scientific publications on the history, sociology, and aesthetics of opera, including a monograph on the National Opera House of Portugal titled Denken ist Sterben: Sozialgeschichte des Opernhauses Lissabon (Bärenreiter, 1999), and ‘Por lo imposible andamos’: A ópera como teatro de Gil Vicente a Stockhausen [‘Por lo imposible andamos’: Opera as Theatre from Gil Vicente to Stockhausen] (Âmbar, 2005), among other books (14) and scientific articles/book chapters (over 100). Besides being a prolific scholar, he is also renowned for his extraordinary capacity in mentoring young and experienced researchers, as evidenced by the number of master (12), doctoral (10) and post-doctoral (8) researchers who work or have worked with him over the past decades. Prof. Vieira de Carvalho has also participated in several international projects/networks, including the project “Images of Music” (involving the FCSH and Universität Innsbruck, 2002-2003), and the Network of Excellence REWERSE (involving numerous European Universities, 2004-2005). Last but not the least, he has served as a Visiting Professor at the Humboldt-Universität zu Berlin (2000) and King’s College (2005), and was the Secretary of State for Culture of the Portuguese Government (2005-2008).
David J. Levin is The Addie Clark Harding Professor at the University of Chicago (in the Departments of Cinema & Media Studies, Germanic Studies, and Theatre and Performance Studies), and Director of the Richard and Mary L. Gray Center for Arts & Inquiry. Prof. Levin is a scholar of international renown for his work on the intersections of cinema, theatre, and opera. His publications testify to his longstanding and deep commitment to topics of major importance for the fellow's research project. These publications include an edited book, Opera Through Other Eyes (Stanford University Press, 1994), and two monographs, Richard Wagner, Fritz Lang, and the Nibelungen: The Dramaturgy of Disavowal (Princeton University Press, 1998/2000), and Unsettling Opera: Staging Mozart, Verdi, Wagner and Zemlinsky (University of Chicago Press, 2010), along with more than 25 articles on related topics. He has participated in several international projects involving the University of Chicago and, among others, the Freie Universität Berlin (“The Praxes of Theory”, 2008-to date) and Konstanz Universität (“Towards a Cultural Poetics of Entries and Exits”, 2005-2012). Over his career he directed about 25 MA theses, 10 PhD dissertations and supervised 7 post-doctoral projects. Since 2005, he has also served as the executive editor of the Opera Quarterly (published by Oxford University Press). In addition to his academic work, he has spent a number of years working as a dramaturg, mostly in Germany (e.g. at the Frankfurt Opera, the Bremen Opera, and the Frankfurt Ballet) but also at Lyric Opera of Chicago and for opera cabal, an avantgarde opera company based in New York and Chicago. Given the range of his research interests at the crossroads of opera studies, performance theory and film studies, not to mention the interdisciplinary and comparative nature of his approach, it is no exaggeration to say that the kinship between Prof. Levin’s work and the fellow's own research could hardly be stronger.