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. Accepted posters will be considered for publication in the Opera Journal.
Deadline: October 1, 2014
Abstracts should be submitted electronically to Anthony Radford, at .
Guidelines for Abstracts
Proposals for the poster session at the National Opera Association Convention are peer-reviewed and must adhere to the following guidelines. No informal email descriptions will be accepted.
- Abstracts of 250-500 words should be submitted as a Word document or PDF file.
- Only abstracts clearly related to the topics stated in the Call for Posters will be considered.
- Abstract format must include a description of the nature and purpose of the project, methodology as appropriate and the application, results or conclusion reached.
- No abstracts promoting a profit-making method, concept or product will be accepted.
- No abstracts will be accepted after the deadline.
- Abstract submission commits authors to poster presentation at the national convention if accepted.
- A 100-word biography of the author must accompany the abstract, submitted in a separate attachment (Word or PDF). Committee members reading abstracts do not see identifying information; bios are held for use in the convention program if the abstract is accepted for presentation.
Posters 2014 Convention
Songs of the Fisherman: A Collaboration to Create an Opera-Ballet Hybrid
Integrating Mime and Dance into the Opera Scenes Narrative
Rebecca Renfro Grimes
J.P.E. Hartmann’s Liden Kirsten: A Hidden Gem
Polish Opera in the United States: a Call for Education, Performance, and Production
Chiaroscuro: A Singer’s Approach to Exploring Artistic Individuality in Interpretation
Opera and Sustainability: A Case Study
Mitra Sadeghpour with co-authors Jordyn Beranek, Danielle Bronshteyn, and Michaela Tures
Reinventing Opera Outreach Programs in Canada’s Outports
A History of Operatic Voice Types
Posters 2013 Convention
Severo de Luca's 'Aglaura e Corebo': from Manuscript to Stage
Mary-Louise Catsalis, Stanford University
Opera, Research & Advocacy: Exploring history and literature through the lens of undergraduate research and arts advocacy
Carleen Graham, The Crane School of Music, State University of New York-Potsdam
Opera as Film Noir: Integrating film narrative into a scenes production
Rebecca Renfro Grimes, Sam Houston State University
From Song to Carmen: How to prepare young singers
Marielle Petricevich and Anthony P. Radford, California State University, Fresno
Jean-Baptiste Lully: Facilitating the use of French Baroque arias in undergraduate voice study
Mitra Sadeghpour, with Nicole Korbisch and Britney Shattuck, student researchers
Posters 2012 Convention
Mozart's 7 Deadly Sins: Making Theatre from Excerpts
Mary‐Louise Catsalis from Stanford University, Palo Alto, CA
Eros and Psyche: Opera and Myth in the Twenty‐First Century
Linell Gray Moss from James Madison University, the Lifelong Learning Institute in Harrisonburg, VA, and Germanna Community College in Fredericksburg, VA
King and Queen of the High Cs: The Bel Canto Love Affair of Dame Joan Sutherland and Luciano Pavarotti
Mitra Sadeghepour, Jonas Hacker and Erin Kenneavy from the University of Wisconsin‐Eau Claire
Music and Architecture: Opera Production at the University of Miami
Dean Southern from the Frost School of Music, University of Miami, Coral Gables, FL
Posters 2011 Convention
Exploring New Methods in Opera Education
Carleen Graham, Director of The Crane Opera Ensemble and Director of The Center for Undergraduate Research at SUNY-Potsdam with Vincent Covatto, Derek Downs and Shaun Cunningham
Performance Practice of Jody Nagel's Opera Fifty-Third Street: World Premiere performance at Ball State University
Tammie M. Huntington, Assistant Professor, Indiana Wesleyan University
Synthesized Pit Orchestras No Longer the Pits
Damon Stevens, Director Nevada Chamber Opera, University of Nevada, Reno
The Trickster and the Troll: Commissioning and producing a new chamber opera
Emily Wood Toronto, Department of Music, South Dakota State University, Brookings, South Dakota
America's Social History and the Changing Face of Opera: The case of race and African American singers at the MET
Maurice B. Wheeler, Associate Professor, Department of Library and Information Sciences, College of Information, University of North Texas
Posters 2010 Convention
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 Convention
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 Convention
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