Depending on the specific archives examined, each PerformArt researcher will conduct a personal research project.
Michela Berti
Project to be developed.
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Diana Blichmann
“Chi poco vede niente pensa”. Dramaturgy and stage decoration at the service of aristocratic powers in private theatres in Rome.
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Teresa Chirico
The Cardinal Pietro Ottoboni (1667-1740), the Nations and music.
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Émilie Corswarem
From the palace to the Church: the activity undertaken by members of the Orsini, Borghese, Barberini, Ottoboni and Aldobrandini families.
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Valeria de Lucca
The circulation, professional development and influence of singers within the Colonna family circle (1659-1750).
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José Maria Domínguez
Italian sources in Spain and Spanish sources in Italy concerning Roman families: music and ceremony, models and complications of patronage.
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Cristina Fernandes
Portuguese aristocrats in Rome: musical patronage and social networks.
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Gloria Giordano
Families and the performing arts. Research perspectives on dance.
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Anne-Madeleine Goulet
Project to be developed.
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Christine Jeanneret
Patronage, Collection, and Performance in the Chigi Archives.
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Letizia Leli
The women of the Lante della Rovere family. The female contribution to the formation of the family archives.
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Barbara Nestola
Aspects of the reform of opera seria in Roman operatic repertoire at the end of the 17th century. A concrete history of performance, dramaturgy and aesthetics.
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Élodie Oriol
Patronage and artistic careers: the role and influence of aristocratic protection.
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Chiara Pelliccia
The cardinals of the Colonna household: new surveys on musical patronage.
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Aldo Roma
Patronage, theatre and spectacle in the Roman colleges in the Baroque Era
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Sara Elisa Stangalino
From Venice and Vienna to Rome: text and context of the musical dramas written for Lorenza de la Cerda Colonna.
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Huub Van der Linden
“Et hora vado a Bologna”. Musical venues and exchanges between Rome and Bologna.
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Giulia Anna Romana Veneziano
Music and patronage in Villa Belvedere Aldobrandini in Frascati.
From Naples to Rome: investigations in the Ruspoli collection on the reception of Neapolitan composers in city theatres and the reaction of Roman aristocratic circles.
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