Curriculum vitae

Emilia Pelliccia has been a lecturer in Historical Musicology at the University of Kassel’s Department of Music since the summer of 2025, as well as at the Department of Musicology at the University of Vienna and the Department of Vocal Studies and Music Theatre at the University of Music and Performing Arts Vienna (mdw). Her current research project Sounds of Primitiveness? ‘Primitivism’ in European Modern Music critically explores the idea of ‘primitivism’ in discourses on music of the German-speaking world and beyond in the early 20th century. Emilia Pelliccia studied musicology at the Università degli Studi di Pavia-Cremona, the Université Paris-Sorbonne, and the University of Vienna, where she completed her Ph.D. dissertation in 2025. Her dissertation examines the role of tenors and basses at the Viennese court opera during the early 18th century. Prior to that, Emilia Pelliccia completed her M.A. degree at the Department of Musicology and Cultural Heritage in Cremona, focusing mainly on opera research, historical performance practice, and music philology. Her master’s thesis, Francesco Borosini: vita e carriera di un tenore nel Settecento, received the highest honors (110 e lode).

From 2022 to 2024, Emilia Pelliccia worked as a research assistant (pre-doc) in the FWF project Paper and Copyists in Viennese Opera Scores, 1760–1775, where she specialized in the codicological analysis of music manuscripts, identification of scribes, and project database management. In 2019, she was awarded one of 25 scholarships from the uni:docs program at the University of Vienna, which supports outstanding early-career researchers from all disciplines. As part of this program, she worked as a university assistant (pre-doc) in research and teaching at the Institute of Musicology at the University of Vienna from 2019 to 2022. In parallel, Emilia Pelliccia collaborated with the binational DFG/NCN research project Pasticcio. Ways of Arranging Attractive Operas at the Universities of Greifswald and Warsaw until the end of 2021. Her contributions included work on the digital critical edition of Johann Adolf Hasse’s “auto-pasticcio” Siroe, re di Persia (1733/1763), and research on the singers involved in the two versions.

  • ‘Primitivism’ in modern music and culture
  • Music history of the 17th and 18th centuries
  • Opera research, especially baroque opera dramaturgy
  • Singer research and vocal profile analysis
  • Historical performance practice
  • Music philology

University of Kassel (from 2025)

  • Different? Orientalism, Exoticism, Primitivism and Othering in Music History
  • History of Music I
  • Singing solo since 1600: from the Baroque era to the present

 

University of Vienna (2020–2025)

  • Magic Figures in 18th-Century Opera seria
  • Current Trends in Opera Research (with Konstantin Hirschmann)
  • Italian Opera in the European Context: The Case of George Frideric Handel
  • “…mit vortrefflicher Stimme, vom Kaiser berufen”: Approaches and Methods in Singer Research: A Case Study of the Viennese Court Chapel
  • Research Methods in Musicology

 

University of Music and Performing Arts Vienna (2022–2025)

  • History of Vocal Music
  • Scientific Research Methods
     

Istituto Superiore di Studi Musicali ‘Claudio Monteverdi’, Cremona (2016)

  • History of Music 

*peer reviewed (chronologically descending, as of June 2025)

 

*Eybl, Martin / Hirschmann, Konstantin / Hornbachner, Christiane / Köhn, Constanze Marie / Pelliccia, Emilia, “Special Issue: Paper and Copyists in Viennese Opera Scores, 1760–1775”, in: Musicologica Austriaca: Journal for Austrian Music Studies [in preparation 2025].

-Pelliccia, Emilia, “Salieri’s Locandiera and its Viennese versions: A codicological examination”

 

Pelliccia, Emilia, “Pietro Paolo Pezzoni, ‘der am Hof einen besonderen gusto macht’: ein Buffo-Bass der Wiener Hofkapelle”, in Arnold Jacobshagen (Ed.), Opera buffa – gestern und heute [in preparation 2025].

 

Pelliccia Emilia, “Stimme und symbolisches Kapital: Raniero Borrini als Hofsänger in Wien”, in: Mirijam Beier / Richard Erkens / Andrea Zedler (Eds.), Von Karrieren und symbolischem Kapital. Das Gesangspersonal der italienischen Oper an deutschsprachigen Höfen um 1750, Heidelberg: Heidelberg Univ. Publishing [in preparation 2026].

 

* Hirschmann Konstantin / Pelliccia, Emilia, “‚As it was collect’d by …’ The Walsh prints of the Hoboken-Sammlung in Vienna” (working title), in: Gesa zur Nieden / Berthold Over (Eds.), John Walsh in Europe [in preparation 2025].

 

* Pelliccia, Emilia, “His Voice and Something More: Francesco Borosini’s Cantata ‘Quando miro o stella o fiore’ for Anton Ulrich, Duke of Saxe-Meiningen”, in: Musicologica Austriaca: Journal for Austrian Music Studies (January 13, 2022), https://www.musau.org/parts/neue-article-page/view/120   

 

* Pelliccia, Emilia / Rzepka, Sonia, “From Insignificant Bars to Significant Social Relations. Elisabeth Teyber and Laodice’s Accompagnato in Siroe (1763)”, in: Musicology Today 18 (Dez. 2021), pp. 75–88. (Open Access: https://sciendo.com/article/10.2478/muso-2021-0008  )

 

Pelliccia, Emilia, “A Voice of Two Cities: Francesco Borosini between the Habsburg Court and the Royal Academy”, in: Gesa zur Nieden / Berthold Over (Eds.), Operatic Pasticcios in 18th Century Europe. Contexts, Materials and Aesthetics, Bielefeld: Transcript 2021, pp. 225–239. (Open Access: https://www.transcript-verlag.de/978-3-8376-4885-0/operatic-pasticcios-in-18th-century-europe/ )

 

Albrecht-Hohmaier, Martin / Over, Berthold / Pelliccia, Emilia / Wronkowska, Sonia, “Pasticcio-Daten und Daten-Pasticcio – zur Edition kompilierter musikalischer Werke”, in: editio 34/1 (2020), pp. 45–71.

 

* Pelliccia, Emilia, “Francesco Borosini (ca. 1690 – nach 1756): Leben und Karriere eines Tenors im frühen Settecento”, in: Musicologica Brunensia 53 (2018), Supplementum, pp. 109–121.

October 2025

Paper Fremde, Zyklopen und Dämonen: Die Bassstimme als Akzentuierung des ‚Anderen‘ in der Barockoper

77. Jahrestagung der Gesellschaft für Musikforschung (Musik in einer geteilten Welt)

Hochschule für Musik „Franz Liszt“ Weimar (D)

 

September 2025

Paper “Lode al ciel, donzella io sono”: Low Male Voices and Gender Ambiguity in Viennese Court Opera

Conference Donne tra drammaturgia, gesto, musica e scene nell’opera italiana tra barocco e illuminismo

Conservatorio di Alessandria (IT)

 

May 2024

Paper Commissioning Singers: Chamber Cantatas for Duke Anton-Ulrich (1687–1763)

Workshop Historical Perspectives on Musical Commissions

Universität für Musik und darstellende Kunst Wien (mdw) – Gustav Mahler Zentrum, Vienna (A)

 

April 2024

Paper Komische Rollen in Wiener Intermezzi und Faschingsopern (1714–1736): Stimm- und Rollenprofil des Bassisten Pietro Paolo Pezzoni

Conference Opera buffa – past and present

Hochschule für Musik und Tanz Köln (D)

 

February 2024

Project presentation Papier und Kopisten in Wiener Opernpartituren, 1760–1775, with Martin Eybl, Konstantin Hirschmann and Constanze Köhn

HUN-REN RCH, Haydneum – Hungarian Centre for Early Music (HUN)

 

November 2023

Project presentation Papier und Kopisten in Wiener Opernpartituren, 1760–1775, with Martin Eybl, Konstantin Hirschmann and Constanze Köhn

Masaryk-University Brno, Department of Musicology (CZE)

 

July/August 2023

Paper Layers of Meaning: Salieri’s Locandiera 1773 and 1782 

Panel Paper and Copyists in Viennese Opera Scores, 1760–1775, with Martin Eybl, Constanze Köhn, Sarah Schulmeister and Christiane Hornbachner

International IAML Congress, University of Cambridge, Faculty of Music (UK)

 

May 2023

Paper Symbolisches Kapital von Tenören und Bässen am Wiener Hof

Conference Von Karrieren und symbolischem Kapital. Das Gesangspersonal der italienischen Oper an deutschsprachigen Höfen um 1750

Universität Bayreuth (D)

 

April 2023

Paper Herrscher, Götter, Dämonen und Faschingshelden. Tenor- und Bassrollen an der Wiener Hofoper (1700–1740)

Österreichische Gesellschaft für Musik, Zyklus „Junge Musikwissenschaft“, Vienna (A)

 

October 2022

Paper As it was collect’d by…“: The Walsh Prints of the Hoboken-Sammlung in Vienna, with Konstantin Hirschmann

Conference Walsh in Europe and Beyond: dissemination and reception of English music prints in the 18th century

Universität Greifswald (D)

 

May 2022

Paper „Weil dieser Supplicant ein sehr guter Virtuos ist...“. I ruoli per voci gravi in Scipione nelle Spagne (1722)

Conference ‘Tu, degli austriaci eroi germe sublime.‘ Convegno Internazionale di Studi in occasione della prima esecuzione in tempi moderni di Scipione nelle Spagne

Conservatorio “Benedetto Marcello”, Venice (IT)

 

September 2021

Paper “...meglio al parer mio conviene un baritono che ogni altra voce.” Der Sultan Bajazet und die Rolle der tiefen Männerstimmen in der Opera seria

XVII. Internationaler Kongress der Gesellschaft für Musikforschung (Musikwissenschaft nach Beethoven), Bonn (D)

 

June 2021

Paper “...meglio al parer mio conviene un baritono che ogni altra voce”. The Sultan Bajazet and Low Male Voice’s Roles in Italian Opera Seria

Conference Tosc@ 2021: Junior Scholar Opera Conference der Universität Bayreuth (online)

 

May 2021

Paper From‘insignificant’ bars to significant relations: Elisabeth Teyber and Laodice’s accompagnato in Siroe (1763), with Sonia Rzepka

Conference Opera Pasticcio in Eighteenth Century Opera: Work Concept, Performance Practice, Digital Humanities (online)

 

February 2020

Panel presentation Pasticcio-Daten und Daten-Pasticcio – zur Edition kompilierter musikalischer Werke, with Martin Albrecht-Hohmaier, Berthold Over and Sonia Wronkowska

Conference Werk und Beiwerk. Zur Edition von Paratexten. Arbeitstagung der Arbeitsgemeinschaft für germanistische Edition

Deutsches Literaturarchiv, Marbach am Neckar (D)

 

December 2019

Poster presentation: Quellen und Methoden der „Stimmrekonstruktion“: Bässe und Tenöre in Wien zu Beginn des Settecentos

Symposium „Junge Musikwissenschaft“ der Jahrestagung der Österreichischen Gesellschaft für Musikwissenschaft (ÖGMW), Innsbruck (A)

 

October 2019

Paper Per un profilo delle voci ‘perdute’. Il caso di bassi e tenori nel primo Settecento presso la ‘Hofkapelle’ di Vienna

XXVI Convegno annuale der Società Italiana di Musicologia

Conservatorio “E.R. Duni”, Matera (IT)

 

September 2019

Paper The Bass Antonio Manna: A Forgotten Voice of the Age of Farinelli

Conference “Quei vostri inaspettati e brillanti gruppetti”: Debunking myths in historically informed performances for the Italian repertoire of the age of Farinelli (1705–1782)

Museo Duca di Martina / Villa Floridiana, Naples (IT)

 

October 2018

Paper The Ways of a Voice: Francesco Borosini between the Habsburg Court and the Royal Academy

Conference Music as Reference in Mobility Contexts

Johannes Gutenberg-Universität, Mainz (D)

 

July 2018

Paper Francesco Borosini, an Italian Tenor Abroad: The Cantata ‘Quando miro, o stelle, o fiori’ for Anton Ulrich, Duke of Saxe-Meiningen

18th Biennial International Conference on Baroque Music

Università degli studi di Pavia, Cremona (IT)

 

October 2017

Paper Francesco Borosini: Leben und Karriere eines Tenors im frühen Settecento

International Musicological Colloquium Brno

Masaryk-University Brno, Department of Musicology (CZE)

Various program notes and translations of librettos for Wiener Konzerthaus, Innsbrucker Festwochen der Alten Musik, Grafenegg Festival, Festival „Claudio Monteverdi“ in Cremona and others.

 

Concert introduction podcast for the Grafenegg Festival “Noten & Schlüssel” (24. Okt. 2020): https://grafenegg-podcast.simplecast.com/episodes/2-konzerteinfuhrung-24-oktober-2020-hakan-hardenberger-und-das-euyo