National Opera Association

Call for Posters

As part of NOA’s commitment to the advancement of excellence in opera and musical theatre performance and pedagogy, the annual convention includes a poster session to encourage members, prospective members and friends of NOA to share information about their current research projects.

Authors are invited to submit abstracts for poster presentations on opera-related topics. This session is designed to highlight original research related to performance, pedagogy, composition, and production.

Deadline: September 1, 2010

Abstracts should be submitted electronically to Kay Payn, at .

Guidelines for Abstracts

Proposals for the poster session at the National Opera Association Convention are peer-reviewed and may be accepted or declined on the merits of the following guidelines:

1. Abstracts of 250-500 words should be submitted as a Word document or PDF file.
2. Only abstracts clearly related to the topics stated in the Call for Posters will be considered.
3. Abstract format must include both a description of the purpose of the project and the results or conclusion reached.
4. No re-submissions of abstract topics previously presented by the author at NOA made in will be considered. Similar methodology is acceptable only as it is applied to different set of circumstances, persons, composers or era.
5. No abstracts promoting a profit-making method, concept or product will be accepted.
6. No posters will be accepted after the deadline.

Recent Posters

Posters 2010

A visual-analytical comparison between Puccini’s and Busoni’s Turandot
Mihaela Buhaiciuc, University of Mobile

The musical and philosophical relationship between Richard Strauss’s Krämerspiegel Op. 66 and Capriccio, Op.85
Matthew Hoch, Shorter College

Realizing Rosina: Operatic realizations of Beaumarchais’s heroine
Linda Lister, Shorter College

A celebration of the life and compositions of Pauline Viardot
Jessica McCormack, Wittenberg University

Touring: Planning, implementing and survival
Patrick Newell, University of Wyoming and Helios Ensemble of Dallas

A vocal profile of Mozart’s first Don Alfonso, Francesco Bussani (1743-c.1807)
Anthony Radford, California State University, Fresno

Eleanor of Acquitaine or the power of disempowerment
Elke Riedel, School of Music of the Federal University of Rio Grande do Norte, Brazil

The development of an opera education program for high school students
Mitra Sadeghpour, University of Wisconsin-Eau Claire: Operatunities

Posters 2009

Witness: a new opera with relevance, musical immediacy and rich solo and chorus roles
Zae Munn, composer

Reinventing Opera: The role of dance and choreography in contemporary opera
Jeff Michael Rebudal and Maggie Allesee, Wayne State University Department of Dance

Heart vs Head: the implications of register sensation on the characterization of Mozart’s women in Le nozze di Figaro
Donna Harler Smith and Jamie Riemer, University of Nebraska – Lincoln

From Dido and Aeneas to Carmen: an exploration of the role of dance in opera
Mitra Sadeghpour, University of Wisconsin – Eau Claire

Posters 2008

Using Popular Culture to Create Opera Outreach
Amy Bouterse, University of Wisconsin – Parkside

Empowerment through Apprehension Management
Jo Ella Cansler, West Texas A&M University

Finding Figaro’s Voice: Informing Today’s Casting Choices
Anthony Radford, University of Lethbridge

Contemporary American Opera: an exploration of American operas of the past 25 years
Mitra Sadeghpour, University of Wisconsin – Eau Claire