Don Juan Archiv - Wien, Forschungsverlag

Impulse Speakers’ Curricula

Baker, Felicity

Born in Sidney (Australia). Felicity Baker has lived in London since 1969.

Studied French, Italian and Latin at the University of Sydney. A scholarship took her from Sydney to Paris to start postgraduate work but having decided to focus on Rousseau, she transferred to Geneva, to benefit from the teaching and supervision of Jean Starobinski, whose openness to all the sciences humaines and whose historical and philosophical approach to all the arts of the Enlightenment and Revolutionary era remain a decisive inspiration. Her study of Rousseau’s philosophy of freedom and equality took her into his conception of a fundamental contract, not only the egalitarian social pact but also the spirit of safekeeping (le dépôt) in personal relations, including sexual love. Since 1986 her literary-critical readings have drawn on Claude Lefort’s political philosophy, and since 1996 on Maurice Godelier’s anthropology of the gift.
After a first lectureship at the University of Pennsylvania (1967-69), her teaching career has been at University College London. She is now Reader Emeritus in French (UCL).
Research interests:    
She has published and lectured internationally on Rousseau’s Discourse on Inequality, La Nouvelle Héloïse, Emile, Social Contract and Confessions. Lorenzo Da Ponte became her second research topic after she noticed the presence of Rousseau’s thinking in the libretto for Don Giovanni, and again in the librettist’s memoirs; see ‘Lorenzo Da Ponte’s witticisms: the implication of Jewish identity in the Memorie’, in Italian Autobiography from Vico to Alfieri, ed. J. Lindon (supplement to The Italianist 17, 1997) and ‘The figures of hell in the Don Giovanni libretto’, in Words about Mozart, ed. D. Link and J. Nagley (Boydell 2005).
Lorenzo Da Ponte’s witticisms: the implication of Jewish identity in the Memorie”, in: Italian Autobiography from Vico to Alfieri, supplement to The Italianist 17, ed. J. Lindon. London, 1997, pp. 42-79.
The figures of hell in the Don Giovanni libretto”, in: Words about Mozart, Boydell, 2005, pp. 77-106.
L’arbore di Diana: José II como el dios del amor”, in: Actas del congreso internacional “Los siete mundos de Vicente Martín y Soler”, ed. D. Link, L. Waisman. Valencia, Instituto Valenciano de la Musica (Generalitat Valenciana) 2010, pp. 265-275.
"Don Giovanni's bizarre scene", in: Operafestival 2010 Program, Drottningholms Slottsteater, Drottningholm, Stockholm, 2010, pp. 46-51.


Borek, Johanna
Born in Vienna (Austria).
Austrian State Prize for literary translation in 1994.

Professor of Romance Literature und Translation at the University of Vienna and translator (Diderot, Gide and Pirandello, among others). Lecturer at the Universities of Bari, Pavia, Triest, Paris 8, Nizza, Leipzig and Dresden.
On European Enlightenment (Denis Diderot, Rowohlt-Monographie, Reinbek 2000, among others), on literature, theatre and politics in Italy of 20th and 21th Centuries (Gramsci, Pasolini, Calvino, Pirandello, Sciascia, Consolo), on criminal literature and criminal cinema in France and Italy and on history and cultural theory of translation.
Co-ordinator of the EU-Project Biennale EST - Europe as a Space of Translation.


Eisendle, Reinhard

Born in Villach (Carinthia, Austria).   

Sociology, pedagogy, German philology and philosophy in Klagenfurt and Vienna; and directed cultural studies projects at the Interuniversitary Faculty of Interdisciplinary Research. Conducted cultural-historical and theatre-historical research at the Don Juan Archiv Wien and at Da Ponte Institut until the latter’s closure in 2009 – finally as director of departments of Libretto studies and Don Juan Research.
Research interests:    
Theatrical censorship; intertextuality of eighteen century opera texts.
“Il Dissoluto punito. Riflessioni dentro lo stanza degli specchi”, in: Aldo Toffoli/Giampaolo Zagonel (ed.): Lorenzo Da Ponte. Atti del Convegno internazionale di Studio 2002, Vittorio Veneto 2004, pp. 39-57.    
“Il fratello perduto”, in: Salieri sulle tracce di Mozart, ed. with Theresa Haigermoser and others, Kassel/Basel/London/New York/Prag: Bärenreiter 2004, pp. 115-122.   
“Göttlicher Giubetta. Don Juan als Kassastück”, in: Da Ponte Institut (ed.): Mozart. Experiment Aufklärung – Essayband zur gleichnamigen Ausstellung in der Albertina, Stuttgart 2006, pp. 681-692.    
“Il poeta bizzarro. Da Pontes Memorie beyond fiction and facticity”, in: Michael Hüttler (ed.): Lorenzo da Ponte. Maske und Kothurn, 52 (2006), Heft 4, Wien/Köln/Weimar: Böhlau 2007, pp. 157-171.    
“Ein Fest ohne Da Ponte. Oder: Der Frühling des Theaterdichters”, in: Paolo Budroni (ed.): Mozart und Salieri – Partner oder Rivalen? Das Fest in der Orangerie zu Schönbrunn vom 7. Februar 1786, Göttingen 2008, pp. 105-110.   
“Don Giovanni in Böhmen. Die Prager Don Juan-Opern vor Mozart im Kontext der europäischen Sujetgeschichte”, in: Tomislav Volek, Milada Jonášová (ed.): Bohemikální aspekty zivota a díla W. A. Mozarta, Prag 2010, in print.
Salieri sulle tracce di Mozart, ed. with Theresa Haigermoser et al. (Kassel/Basel/London/New York/Prag, Bärenreiter 2004).    
Lorenzo da Ponte. Opera and Enlightenment in late 18th century Vienna (Kassel/Basel/London/New York/Prag, Bärenreiter 2005).
Co-curator of  Exhibitions:    
Salieri sulle tracce di Mozart (Milan, Palazzo Reale 2004);    
Lorenzo da Ponte – Aufbruch in die neue Welt (Vienna, Jüdisches Museum 2006);    
Mozart. Experiment Aufklärung im Wien des späten 18. Jahrhunderts (Vienna, Albertina 2006).
Opera productions in Salzburg and Vienna.



Goehring, Edmund
Born in  
PhD, Columbia University, 1993.

Since July 2009 he is associate professor of music at the University of Western Ontario.
Awards from the American Musicological Society (1993). Award from the National Opera Association (States) (1993), Outstanding Honors Teacher. Honors Program, University of Georgia (1997). Research funding from the National Endowment for the Humanities (2000). Award from the Social Sciences and Humanities Research Council of Canada (2006), Standard Research Grant (2007-2010).
Research interests:    
18th-century music; opera; aesthetics and Mozart studies. Recently published Three modes of Perception in Mozart (Cambridge University Press, 2005).
“Despina, Cupid, and the Pastoral Mode of Così fan tutte”, in: Cambridge Opera Journal 7/2, pp. 107-133 (1995).    
“The Sentimental Muse of opera buffa”, in: Opera buffa in Mozart’s Vienna, ed. Mary Hunter and James Webster, pp. 115-145 (Cambridge, 1997).

“The opere buffe”, in: The Cambridge Companion to Mozart, ed. Simon Keefe, pp. 131-146 (Cambridge, 2003).
“Musical Platonism in Modern Culture”, in: Current Musicology 75, pp. 185-203 (Spring 2003).    

Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in “Così fan tutte” (Cambridge University Press, 2004); reviewed in TLS, 7 January 2005.    

“The Lamentations of Don Juan and Macbeth”, in: Publications of the Modern Language Association, pp. 1524-1542 (October 2005).    
“Episode and Necessity in ‘Non ti fidar’”, in: Mozart Studies, ed. Simon P. Keefe, pp. 137-162 (Cambridge University Press, 2006).   
“Much Ado about Something; or, Così fan tutte in the Romantic Imagination. A Commentary on and Translation of an Early Nineteenth-Century Epistolary Exchange”, in: Eighteenth-Century Music 5/1, pp. 75-105 (Spring 2008).
Founding member of Mozart Society of America  (1996).
Editor of Current Musicology  (1992-1993) and of the Newsletter of the Mozart Society of America  (1996-2000).


Streitler, Nicole

Born in Dornbirn (Vorarlberg, Austria), 1972. Literary critic and author.

From 1997 to 2003 university lecturer in Nice/France and Bari/Italy. Research fellow at the Critical Edition of the Works of Robert Musil (KARMA).
Since 2005 Research Fellow in a project of the Austrian Science Fund (FWF), dedicated to the author Ödön von Horváth, where she has headed the edition of Don Juan kommt aus dem Krieg (Berlin 2010) and of Figaro läßt sich scheiden (to appear 2011) in the new Viennese Edition of his works (Wiener Ausgabe sämtlicher Werke, Berlin 2009ff.). Since 2006 also university lecturer at the University of Vienna.
Musil als Kritiker (Bern 2006).    

Ödön von Horváth: Der jüngste Tag (Stuttgart 2009).   
Ödön von Horváth: Don Juan kommt aus dem Krieg (= Wiener Ausgabe, Bd. 9; Berlin 2010).


together with Klaus Kastberger (Ed.): Vampir & Engel. Zur Genese und Funktion der Fräulein-Figur im Werk Ödön von Horváths (2006).   
together with Klaus Kastberger (Ed.): Ödön von Horváth: Geschichten aus dem Wiener Wald (Stuttgart 2009).


Tessing Schneider, Magnus
Born in Copenhagen, 1975

MA, PhD, dramaturge and theatre historian specialized in operatic dramaturgy
MA in comparative literature and theatre studies from the University of Copenhagen. Defended his PhD thesis The Charmer and the Monument: Mozart’s Don Giovanni in the Light of Its Original Production in Aarhus in 2009.
Currently employed as assistant lecturer at the Department of Theatre Studies, University of Copenhagen, teaching dramaturgy, performance analysis, theatre historiography and methodology.
Research interests:    
Works and performance practices of Shakespeare, Holberg, Monteverdi, Handel, Mozart, Verdi and Puccini; the history of operatic aesthetics (words/music/performance); the relationship between the histories of acting and singing; theatricality and the allegorical use of role-doubling in 17th-century drama and opera.
various articles on operatic subjects, including “ Mozart, Luigi Bassi, and ‘Fin ch’han dal vino’ ” (Danish Yearbook of Musicology, 2010), while a number of further publications about the original production of Don Giovanni is forthcoming.
Periodical Nordic Theatre Studies and co-founder of the Nordic Network for Early Opera, which aims to support the exchange between opera researchers and practitioners through seminars, master-classes and research-based productions.
Stage director:    
Debut at Copenhagen’s old Court Theatre in 2007 with a production of Monteverdi’s Orfeo and is currently planning his productions of L’incoronazione di Poppea (Summer 2011) and Don Giovanni (Summer 2012, hopefully!)




Ther, Philipp
Born in Mittelberg (Vorarlberg, Austria), 16. Mai 1967. Historian and cultural scientist.
Between 1988-1992 he studied Modern History, history of Eastern Europe, sociology and political science at the Universities of Regensburg and Munich. 1993 received Master’s degree at the Georgetown University in USA. 1997 received doctoral degree at the Freie Universität Berlin.
In 1997/1998 “John F. Kennedy Fellow” at “Center for European Studies” at the Harvard University. Between 1998-2002 scientific fellow at the “Centre for Comparative History of Europe” of the Freie Universität Berlin. During his studies Fulbright Fellow among others, Fedor-Lynen-Fellowship of Alexander von Humboldt Foundation (2001). Senior Fellow, Institut für die Wissenschaften vom Menschen in Wien (2004/05), Permanent Fellow at the Berlin Kolleg for Comparative History of Europe (2004-2009). Richard G. Plaschka-Prize of the Austrian Academy of Sciences (2006).
2002 Professeur invité at the École des Hautes Études en Sciences Sociales in Paris; 2002-2007 Juniorprofessor of Polish and Ukrainian studies at the Europe-University Viadrina in Frankfurt/Oder; 2007-2010 professor of European History of the 20th Century at the European University Institute in Fiesole / Florence. Since the winter semester 2010/11 he is professor of Eastern-central Europe at the Institute of History of Eastern Europe of the University of Vienna.
Research interests:    
Comparative social- und cultural history of 19th and 20th Centuries in Germany and Eastern-central Europe, especially Nationalism studies, Migration history, metropolitan history as well as the history of Musiktheater.
In der Mitte der Gesellschaft. Operntheater in Zentraleuropa 1815-1914 (Wien, Oldenbourg 2006).    
Narodní divadlo v kontextu evropských operních dejin (od založeni do první svetové války) (Praha, Dokorán 2008).
Peter Stachel, Philipp Ther (Hg.), Wie europäisch war die Oper? Das Musiktheater als Zugang zu einer kulturellen Topographie Europas (Wien, Oldenbourg/Böhlau, 2009).    
Managing editor of the publication series “Die Musikkultur europäischer Metropolen im 19. und 20. Jahrhundert” (Oldenbourg/Böhlau).

Advisor to the publication series “Studien zur Wirtschafts- und Sozialgeschichte Ostmitteleuropas”, “European History Quarterly” (Advisory Board), “Ukraina Moderna” (Advisory Board).


Volek, Tomislav

Born in Prague (Czech Republic), 1931. Musicologist.

From 1950 to 1955 he studied musicology and history at the Karls University, after that until 1964 he was assistant at the chair in musicology of the Faculty of Philosophy, 1965 to 1976 fellow scholar at the Institute of Musicology of the Academy of Sciences.Recognitions:During the communist regime he endeavoured to present alternatives to the Czech Marxist dogmatists through conversations and articles on prominent foreign researchers (Georgiades, Besseler, Merriam, Lissa, among others). After he rejected to withdraw his statements in the article “Einige Bemerkungen zum Thema Musik und Politik vom anthropologischen Gesichtspunkt (in: Über Musik und Politik, Mz. 1971) during the political ‘Normalisation’, in late 1976 he lost his academic posts and worked until 1989 as freelancer. After he was rehabilitated in 1990, until 2002 he was re-employed at the Academy and conducted a seminar at the Faculty (habilitation 1998).


Research interests:   



Průvodce po pramenech k dějinám hudby (Führer durch die mg. Quellen in Böhmen), Prague 1969 (with J. Bužga, J. Kouba and E. Mikanová).    

Mozart a Praha (Mozart und Prag), Prague 1973.    

Geschichte der tschech. Musik in Bildern, Prague 1977 (with S. Jareš).    

Osobnosti světové hudby (Persönlichkeiten der ausländischen Musik), Prague 1982.  

Mozartův Don Giovanni (Mozarts Don Giovanni, Ausstellungskatalog) Prague 1987 (with J. Pešková).    

The Mozartiana of Czech and Moravian Archives, Prague 1991 (with I. Bittner).   


„Über den Ursprung von Mozarts Oper ‚La Clemenza di Tito’“, in: MJb 1959, Kassel 1960, pp. 274-286.    

„Repertoir pražské Spenglerovy divadelní společnosti v sezóně 1793 až 1794“ (Das Repertoire der Prager Spengler Theatergesellschaft in der Saison 1793/94), in: Miscellanea musicologica 14, Prague 1960, pp. 5-26.

„Repertoir Nosticovského divadla v Praze z let 1794, 1796-1798“ (Das Repertoire des Nostitztheaters in Prag aus den Jahren 1794, 1796-1798), in: Miscellanea musicologica 16, Prague 1961, pp.5-191.    

„Vivaldis Beziehungen zu den böhmischen Ländern“, in: AMI 1948, 1967, pp. 64-72 (with M. Skalická).   

“T.B. Janovka, představitel české baroknêí hudební a vzdělanecké tradice”, in: Hudební věda 9, 1972, pp. 344-355.    

“Beethoven und Fürst Lobkowitz“, in: Beethoven und Böhmen, eds. S. Brandenburg & M. Gutiérrez-Denhoff, Bonn 1988, pp. 203-217 (with J. Macek).    

„Die Beethoveniana der Lobkowitz-Musiksammlung und ihre Kopisten“, in: Beethoven und Böhmen, eds. S. Brandenburg & M. Gutiérrez-Denhoff, Bonn 1988, pp. 219-258 (with J. Fojtíková).    

„Hudební ikonografie, Hudební historiografie“, in: Hudební věda, eds. V. Lébl & I. Poledňák, Prague 1988, pp. 627-638, 653-720.  

„Die Bedeutung der Prager Operntradition für die Entstehung des Don Giovanni und Titus“, in: Mozarts Opern für Prag, ed. V. Ptáčková, Prague 1991, pp. 21-100.    

“Italská opera a další druhy zpívaného divadla” (Die italienische Oper und andere Gattungen des Musiktheaters), in: Divadlo v Kotcích 1739-1783, ed. Fr. Černý, Prague 1992, pp. 43-56.    

„Die Bedeutung Prags für Zelenkas Leben und Schaffen“, in: Zelenka-Studien I, ed. Th. Kohlhase, Kassel 1993, pp. 17-40.    

„Professor Josef Hutter: oběť dvou totalitních režimů“ (Professor J. H.: Opfer von zwei totalitären Regimen), in: Hudební věda 31, 1994, 363-372.    

“Italienische Oper in Prag im 18. Jahrhundert“, in: Europa im Zeitalter Mozarts, ed. M. Csáky, Vienna 1995, pp. 222-225.    

“Mozartsche Fragmente und Beethovensche Rente. Zwei historische Tatsachen von großer Aussagekraft“, in: Beethoven und die Rezeption der Alten Musik, ed. H.-W. Küthen, Bonn 2002, pp. 51-67.    

„Musikwissenschaft an den Prager Universitäten“, in: Musikwissenschaft als Kulturwissenschaft – damals und heute, eds. Th. Antonicek & G. Gruber, Tutzing 2005, pp. 155-167.    

„Josepha Duschek und Salzburg“, in: Mozart-Studien 15, 2005, pp. 85-100.    

“What did Prague Mean for Mozart?”, in: Czech music 2, 2006, pp. 33-40.    


C. Schoenbaum, in: NGroveD (2001)    

“Tomislav Volek – 70”, in: Hudební věda 38, 2001, H. 3-4, pp. 217-458.    

M. Jonášová, “Bibliografie T.V.”, in: Hudební věda 38, 2001, pp. 445-457.   



Weidinger, Hans Ernst

Gewerke, Dr. phil., born Vienna, 29 July 1949.

Law, classical languages, theatre studies and art history at Vienna University; piano, voice and dance in Vienna, Prague and Florence; PhD thesis on IL DISSOLUTO PUNITO. Untersuchungen zur äußeren und inneren Entstehungsgeschichte von Lorenzo da Pontes & W. A. Mozarts DON GIOVANNI (2002).
Scuola Normale Superiore, Pisa (1998); Mozarteum University, Salzburg (2000); ISSEI, Pamplona (2004); Don Juan Archiv, Istanbul (2008), Wien (2010); EU-Project E.S.T. – Europe as a Space of Translation, Wien (2009), Napoli (2010, in preparation); Karl-Franzens-Universität Graz (2010, in preparation).
Projects, among others:    
Wiener Brut (film, Vienna 1982).

Constitutionis Theresianae Revocatio (performance, Vienna 1982)    
La Prétendante Chante (performance, Berlin 1984)   
Il pomo d’oro ossia Il giudizio di Don Giovanni (opera - librettist and director, Ratisbona 1986)   
Lo scambio di quadri fra le gallerie di Firenze e Vienna 1792-1821 (research project since 1992).    
HIC SAXA LOQVVNTVR (architectural competition, Pfaffenberg - Berlin - Vienna - Venice, 1993-1996).    
Eine Oper für Büropa (opera - librettist and director, Linz 1998).    
Fermata Greve Piazza (opera - librettist and director, Greve in Chianti, 2002).
“Der Turmbau zu Babel oder Vor den Trümmern der Geschichte” (with Herbert Lachmayer), in: The Manipulator. New York u. a.: 1988; reprinted in: Ruinenbau (ed. Willy Moser). O.O. [New York]: The Manipulator, 1988 pp. [8]-[12]; Mythen der Rationalität. Denken mit Klaus Heinrich (Hg. René Weiland, Wolfgang Pircher). Berlin - Wien: Turia & Kant 1991, pp. 137-162; Prinz Eisenbeton 2. Projects 96 to 99. Masterclass Wolf D. Prix, University of Applied Arts, Vienna  (ed. Wolfgang Prix / Coop Himmelblau). Wien - New York:  Springer, 2000, pp. 87-95.    
“Abbadas’ Ahnen vel Spiegelfaust”, in: Talismane. Klaus Heinrich zum 70. Geburtstag (ed. Sigrun Anselm, Caroline Neubaur). Basel - Frankfurt am Main: Stroemfeld 1998.    
The 'Dux Drafts'. Casanova's Contribution to Da Ponte's and Mozart's Don Giovanni, in: Lorenzo Da Ponte (ed. Michael Hüttler). Maske und Kothurn, Inter¬nationale Beiträge zur Theater-, Film- und Medienwissenschaft, 2006 (LII), n. 4. Wien: Böhlau, 2007, pp. 95-130.
Don Juan Archiv Wien in 1987; of Redaktion Tagbau in 1999; of STVDIVM FÆSVLANVM  in 2009; of Hollitzer Verlag in 2010.


Woodfield, Ian

Born in London, 2 Aug 1951. British musicologist.
Nottingham University (1969-1972) and King’s College, University of London (1973-1977), where his teachers included Howard Mayer Brown and Margaret Bent. Doctorate at King’s College in 1977.
After one year as research fellow at Bath University (1977-1978), he was appointed lecturer (1978), senior lecturer (1989), reader (1994) and director of the school of music (1995-) at Queen’s University, Belfast. Current position: Professor of Historical Musicology, Queen’s University Belfast.
Research interests:    
History of the viol; music in 18th-century Anglo-Indian society; Italian opera in London during the 1770s; the role of musicians in exploration of the 16th and 17th century; the Mozart Da Ponte operas.
”The Celebrated Quarrel between Thomas Linley, senior, and William Herschel: an Episode in the Musical Life of Eighteenth-Century Bath” (Bath, 1977), in: The Early History of the Viol, PRMA, CIII (1976-1977), 141-157.
“Viol Playing Techniques in the Mid-Sixteenth Century: a Survey of Ganassi’s Fingering Instructions”, in: EMc, vi (1978), 544-550.    
“The Mythology of the English Harp”, in: GSJ, XXXIII (1980), 133-134.    
The Early History of the Viol (diss., U. of London; Cambridge, 1984/R).    
“The Keyboard Recital in Oriental Diplomacy, 1520-1620”, in: JRMA, CXV (1990), 33-62.    
“The Basel gross Geigen: an Early German Viol?”, in:  A Viola da Gamba Miscellany: Utrecht 1991, 1-14.
“«Music of Forty Several Parts»: a Song for the Creation of Princes”, in: Performance Practice Review, VII (1994), 54-64.    
“The «Hindostannie Air»: English Attempts to Understand Indian Music in the Late Eighteenth Century”, in: JRMA, CXIX (1994), 189-211.    
“Collecting Indian Songs in Late Eighteenth-Century Lucknow: Problems of Transcription”, in: British Journal of Ethnomusicology, IV (1994), 73-88.    
“New Light on the Mozarts’ Visit: a Private Concert with Manzuoli”, in: ML, LXXXVI (1995), 187-208.    
English Musicians in the Age of Exploration (Stuyvesant, NY, 1995).    
“Music and Empire’, in: The Age of Romanticism and Revolution: an Oxford Companion to British Culture 1776-1832 (forthcoming).    
Music of the Raj: a Social and Economic History of Music in Late Eighteenth-Century Anglo-Indian Society (Oxford University Press, Oxford 2000).    
“John Bland: London Retailer of the Music of Haydn and Mozart”, in: ML, LXXXI, 210-244.    
Opera and Drama in eighteenth-Century London: The King’s Theatre, Garrick, and the Business of Performance (Cambridge University Press, Cambridge 2001).    
Salomon and the Burneys: Private Patronage and a Public Career (Royal Musical Association Monographs Nr. 12, London 2008).    
Mozart’s Così fan tutte. A Compositional History (Boydell&Brewer, Woodbridge 2008).

The Vienna Don Giovanni (Boydell&Brewer, Woodbridge 2010).
(by PATRICK DEVINE,,-Ian.htm)



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Letztes Update: 22.02.2015