• 2 Citations
  • 1 h-Index
20142019
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Personal profile

Biography

Nicole Panizza is an acclaimed UK-based vocal accompanist, coach and scholar. She was awarded her Doctor of Music degree in 2014 (Royal College of Music, London), and is a past recipient of an International Fulbright Award, in support of visiting research fellowships at Harvard University and Manhattan School of Music. Nicole has worked for Opera Australia, the Cologne and Covent Garden Opera Awards, and as Education Manager for The Royal Opera, Covent Garden. Her teachers have included Roger Vignoles and Malcolm Martineau.

Recent research includes the internationally acclaimed album Nature with New-York based soprano Jane Sheldon, key lectures and presentations (Singapore, Oxford, Cambridge), and chamber recitals (Vancouver, New York, Paris, Boston and Philadelphia). Current ventures include an album with critically-acclaimed soprano Nadine Benjamin, featuring premiere performances of Dickinson-inspired song cycles by Juliana Hall, Ella Jarman-Pinto, John Gibson, and Luigi Zaninelli; an inter-medial performance project based on fragment manuscripts of Emily Dickinson with Prof. Suzie Hanna, Dr. Sally Bayley, and renowned folk artist Hannah Sanders; a digital archive showcasing practice-led approaches to the performance and study of Dickinson’s poetry and letters, and an international song project showcasing critical examples of American war, memoriam and remembrance.

Nicole is a founding member of the International Zerere Arts Foundation, chair of the UK-based opera company OperaCoast; and a board member of the London Song Festival, and the Arts and Humanities Council, Emily Dickinson International Society (EDIS). Recent posts include Visiting Research Fellowships (Rothermere American Institute and Faculty of Music, University of Oxford), and Research Summit Fellow, The Orpheus Instituut (Ghent, Belgium). She currently holds the positions of Senior Lecturer in Music (Coventry University) and Research Associate (Oxford Song Network, TORCH – The Oxford Centre in the Humanities).

Further information can be found at www.nicolepanizza.com

Research Interests

Keywords: music, performance, cultural agency, literary analysis and criticism (poetics), gender studies, inter-medial collaboration

Mediums: operatic practice; Australian and American chamber music; performance as creative research and practice; music and text analysis (specialising in 20th and 21st century art song)

Vision Statement

My research focusses on the critical intersection between music, poetry and performance. Having dedicated a significant part of my early career to piano performance (solo, accompaniment, chamber) I decided to specialise in the area of song accompaniment. This has afforded me the opportunity, through study and professional practice, to investigate these individual mediums further.

As my research has progressed I have developed a particular niche interest in American poetry and musical composition, with Emily Dickinson now being a primary driving force. Whilst current Dickinson scholarship offers comprehensive analysis from literary and cultural perspectives there has been surprisingly little enquiry into the role that music played in her life, and the ever-broadening pool of musical settings of her work. It was this unexpected discovery that led me to a series of questions: how do we read Dickinson? How does a composer read her work? How does a performer read the dual narrative of Dickinson and composer? As a direct result of familiarising myself with the contents of her personal music folio, and immersing myself in various musical settings of her poetry and letters, I discovered a gap in knowledge and curation, and a subsequent critical need for an advocate of this material: someone who can not only champion existing work but also seek to promote future practice and scholarship.

My research provides a significant and unique opportunity to document and observe not only a profound evolution of Emily Dickinson’s literary style but also an opportunity to experience, in visual and aural form, some of the finest music compositions of the twentieth and twenty-first centuries. The musical settings provide us, the listener, with a unique platform where we can hear Dickinson’s poems and letters in a more full and embodied way. Further, the act of performance affords additional opportunity to interpret Dickinson’s work in a somatic way, both as performer as an agent for translation and transmission, and for the audience feeling and experiencing them. Moving forward it is my intention that this research will ultimately establish a new forum for both the way in which we read, hear and perform the work of Emily Dickinson, and inspire future discussion and development of interdisciplinary approaches to American cultural study and practice.

Education/Academic qualification

Music Performance, Doctorate, Royal College of Music

10 Jan 200530 Nov 2013

Music Performance, MA, CIT Cork School of Music

1 Sep 200231 May 2004

Music Performance, Degree, Elder Conservatorium of Music, University of Adelaide

10 Feb 199115 Dec 1994

Music Performance, Postgraduate Diploma, TAFE Flinders St School of Music

10 Feb 199015 Dec 1990

Music Performance, Postgraduate Diploma, TAFE Flinders St School of Music

10 Feb 198810 Dec 1990

External positions

Director, The Emily Dickinson International Artists Collective

31 Mar 2017 → …

Board Trustee, London Song Festival

10 Mar 2017 → …

Research Associate, Oxford Song Network

1 Sep 2015 → …

Visiting Research Fellow, University of Oxford

1 Sep 201531 Aug 2016

Visiting Research Fellow, University of Oxford

1 Sep 201531 Aug 2016

Chair and Board Trustee, Operacoast

1 Jan 2015 → …

Keywords

  • M Music
  • MT Musical instruction and study
  • ML Literature of music
  • PS American literature
  • PN0441 Literary History
  • PN0080 Criticism

Fingerprint Fingerprint is based on mining the text of the person's scientific documents to create an index of weighted terms, which defines the key subjects of each individual researcher.

  • 6 Similar Profiles
Music Arts & Humanities
Emily Dickinson Arts & Humanities
Song Arts & Humanities
Poem Arts & Humanities
Dickinson Arts & Humanities
Performer Arts & Humanities
Composer Arts & Humanities
Art Arts & Humanities

Network Recent external collaboration on country level. Dive into details by clicking on the dots.

Research Output 2014 2019

Performer
Emily Dickinson
Interpreter
Dickinson
Composer
Open Access
Open Access
Literary Festival
Poem
Velvet
Emily Dickinson
Booker Prize
Dickinson
Albums
Velvet
Emily Dickinson
Song

Activities 2007 2017

  • 25 Participation in conference
  • 5 Membership of board
  • 1 Membership of network
  • 1 Visiting an external academic institution

Celebrating Australian Music (External organisation)

Panizza, N. (Chair)
15 Feb 2017 → …

Activity: Membership of board

The International Emily Dickinson Society (External organisation)

Panizza, N. (Chair)
3 Jul 2017 → …

Activity: Membership of board

Lincoln International Chamber Music Festival (Event)

Panizza, N. (Chair)
1 Nov 2017 → …

Activity: Membership of board

London Song Festival (External organisation)

Panizza, N. (Chair)
15 Jul 2017 → …

Activity: Membership of board

Harvard University

Panizza, N. (Visiting researcher)
12 Nov 201720 Nov 2017

Activity: Visiting an external academic institution

Prizes

Research Fellow

Nicole Panizza (Recipient), 12 Mar 2009

Prize: Fellowship awarded competitively

Music

The Orpheus Institute Research Summit Fellowship

Nicole Panizza (Recipient), 8 May 2018

Prize: Fellowship awarded competitively

Visiting Academic Research Associate

Nicole Panizza (Recipient), 1 Oct 2018

Prize: Fellowship awarded competitively

Visiting Research Fellow

Nicole Panizza (Recipient), 20 May 2015

Prize: Fellowship awarded competitively

Music