Anthony Barrese
Conductor and Composer,

Kristen E. Poole
Professor of English,
University of Delaware

Maria Anne Purciello
Asst. Professor of Music History,
University of Delaware

Join us for breakfast, three short talks, then a round table discussion about Shakespearean plays adapted for the opera stage -- most notably, Franco Faccio's lost setting of Hamlet!

This is a FREE ticketed event. Quantities are limited, so CLICK HERE to reserve your tickets. 

Saturday, May 7, 2016
9:15-10:00 am     Coffee and pastry available in lobby
10:00-11:15 am   Symposium

"Shakespeare in Italy: English Drama on the Operatic Stage" - Maria Anne Purciello
"The Rest is Not Silence: Hamlet’s Afterlife in Opera" - Kristen E. Poole
"The Discovery and Reconstruction of Franco Faccio’s Hamlet" - Anthony Barrese
Roundtable discussion to follow

Roselle Center for the Arts’ Gore Recital Hall (not to be confused with the academic building named Gore Hall). 

General Public Parking is recommended in the CFA Parking Garage between South Main (Elkton Road) and Amstel Avenue. For GPS purposes, use 135 Amstel Avenue, Newark, DE 19716. For your convenience, a map to the CFA Parking Garage is shared below. The parking charge for the CFA Parking Garage is $2 per hour or part thereof, with a maximum charge of $10. The CFA Parking Garage accepts cash and credit cards. Metered street parking is also available.

Tickets are free, but you must pre-register HERE



Anthony Barrese has earned accolades as both a composer and a conductor. He is the recipient of the 2007 Georg Solti Foundation U.S. award for young conductors. His original works have won numerous awards, and he is regularly engaged by opera companies in North America and Italy. As a musicologist, Mr. Barrese rediscovered, prepared, and edited the critical edition of Franco Faccio’s opera of Amleto (Hamlet), in conjunction with Casa Ricordi. This May, Mr. Barrese will conduct the East Coast Premiere of Amleto with OperaDelaware.

Currently Mr. Barrese works as a freelance composer and conductor. He has recently led several productions with Sarasota Opera and Opera Southwest where he is Artistic Director and Principal Conductor. He was the Assistant Conductor of the Dallas Opera in 2006-2007 and has since returned there as Guest Conductor. In recent seasons Mr. Barrese made debuts in Ascoli Piceno’s historic Teatro Ventidio Basso, Opéra de Massy in France as well as Florida Grand Opera, Opera Theatre of St. Louis, Opera North, and Boston Lyric Opera.

Maria Anne Purciello, an assistant professor of music history at the University of Delaware, specializes in the music of the seventeenth and eighteenth centuries. Her research focuses on the development of the operatic genre, with particular emphasis on the musical language of comedy in mixed-genre opera. Her interdisciplinary approach draws heavily on cultural and intellectual history, as well as on literary and theatrical traditions, in its exploration of operatic intersections of music, poetry, drama and dance. In addition to her work on early operatic and vocal repertories, Dr. Purciello’s scholarly interests include interdisciplinary opera studies; history of aesthetics and reception; and gender studies.

Dr. Purciello has presented her work nationally and internationally at conferences for the American Musicological Society, Transnational Opera Studies, the Society for Seventeenth-Century Music, and the Baroque Biennial, and she has been an invited speaker for the Canadian Opera Company, the Philadelphia Orchestra, Cambridge University, and the Yale Institute of Sacred Music. Her research has been supported by various grants, including a residential fellowship at the Folger Shakespeare Library (Washington, D.C.). She is currently completing a book on comedy in early opera entitled: Artificio o Naturalezza: Comedy and Verisimilitude in 17th-century Opera.

Kristen Poole is Professor of English at the University of Delaware. She is the author of Supernatural Environments in Shakespeare’s England: Spaces of Demonism, Divinity, and Drama (Cambridge, 2011; paperback 2014) and Radical Religion from Shakespeare to Milton: Figures of Nonconformity in Early Modern England (Cambridge 2000; paperback 2006). She is co-editor (with Lauren Shohet) of Gathering Force: British Literature in Transition 1557-1623 (Cambridge, forthcoming 2017), and has two other essay collections in progress. She has published articles in English Literary History, English Literary Renaissance, Milton Quarterly, Renaissance Drama, Shakespeare Quarterly, Shakespeare Studies, South Central Review, Studies in English Literature and numerous essay collections. She is also the project director for the Luminary iPad edition of Romeo and Juliet, and a contributor to Luminary iPad editions of Othello and The Tempest. She has held fellowships at the Folger Shakespeare Library and the Huntington Library. She has degrees from Carleton College (B.A.) and Harvard University (M.A., Ph.D.), and is currently working towards a Master’s degree in historical theology.