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5th Historical Dance Symposium
Burg Rothenfels am Main
10 - 14 June 2020

Contributors

Scientific committee:

Irene Brandenburg, Salzburg, Austria:

Brandenburg 2019 2Musik- und Tanzwissenschaftlerin, wissenschaftliche Mitarbeiterin (Senior Scientist) an der Abteilung Musik- und Tanzwissenschaft und Kuratorin der Derra de Moroda Dance Archives an der Paris Lodron-Universität Salzburg. Forschungsschwerpunkte: Bühnentanz des 17. bis 19. Jahrhunderts, Ballett und Opera seria, Ballettreform des 18. Jahrhunderts (Angiolini), Musiktheater im 18. Jahrhundert, insbesondere Opern- und Sängerforschung in Zusammenhang mit Gluck, Mozart und Händel, Editionswesen/Musikphilologie sowie Archivforschung.

 

Anne Daye, Bedford, Great Britain:

DayeA-bearb1

Dr. Anne Daye is an experienced teacher and dance leader. Her core research both practical and theoretical concerns the Renaissance dance culture of the Elizabethan and Stuart courts, leading to a doctoral thesis on the Jacobean masque. Her interest in dancing in England then continues with the country dance in the 18th and 19th centuries, with a special focus on the dancing scene of Jane Austen’s world. Anne is Director of Education and Research for the Historical Dance Society.

 

Marie-Thérèse Mourey, Paris, France:

Mourey 1Emeritierte Professorin für deutsche Literatur- und Kulturgeschichte an der Universität Sorbonne- Lettres, Germanistische Fakultät. Forschungsgebiete : Deutsche Literatur- und Ideengeschichte, Poesie und Poetik, Ästhetik, Kulturtransfers zwischen Frankreich und Deutschland. Kulturgeschichte des Tanzes und des Balletts im europäischen Zusammenhang. Letzte Publikation: Tauberts « Rechtschaffener Tantzmeister (1717): Kontexte- Lektüren- Praktiken, hg. Hanna Walsdorf, M.Th. Mourey & Tilden Russell, Frank & Timme, Berlin 2019 (Reihe « Cadences », Bd. 2).

 

Carol G. Marsh, Washington DC, USA:

Marsh 1Carol G. Marsh is Professor Emerita at the UNCG School of Music, where she taught music history and viola da gamba and was director of the Collegium Musicum. She has been on the faculty at a number of early music workshops in North America and Europe, teaching both viol, historical dance and Renaissance notation. An internationally recognized authority on Baroque dance and dance notation, she has published extensively in this field and has lectured and given dance workshops at numerous universities in the US and abroad.

 

Markus Lehner, Herrsching, Germany:

Lehner 4aMarkus Lehner unterrichtet seit 1984 historischen Tanz mit dem Schwerpunkt Renaissance und englischer Country dance. Seine Tätigkeit im Bereich der Tanzforschung führte 1997 zur Veröffentlichung des „Manual of Sixteenth-century Dance Steps in Italy". Seit 2004 organisiert er mit großem Erfolg das Internationale Symposium für Historischen Tanz auf Burg Rothenfels, zuletzt 2016 mit dem Thema „Italien und der Tanz - für Barbara Sparti".

 

 

Organisation:

Markus Lehner, Herrsching, Germany:  siehe oben

Uwe Schlottermüller, Freiburg, Germany:

Schlottermueller bearb2Uwe Schlottermüller studierte nach der Ausbildung zum Holzblasinstrumentenmacher Musikwissenschaft und Volkskunde. Seit 1979 besuchte er Tanzkurse für historischen Tanz, danach forschte er intensiv im Bereich Musik und Tanz. Durch seine Forschungen wurden u.a. drei wichtige Traktate aufgefunden und später herausgegeben: Lutio Compassos Ballo della Gagliarda, Paschs Anleitung, sich bei hohen Herrn und Höfen beliebt zu machen und die anonyme Instruction pour dancer. 1994 rief er ein eigenes Ensemble für Musik und Historischen Tanz, piedi ne(g)ri, in Freiburg ins Leben.

 

Referenten:

Giles Bennett, München, Germany:

Bennett neu orgGiles Bennett, Historiker, wissenschaftlicher Mitarbeiter am Zentrum für Holocaust-Studien am Institut für Zeitgeschichte München, Tänzer im Ensemble La Danza München (Leitung: Jadwiga Nowaczek), Mitherausgeber des Bandes „Barocktanz im Zeichen französisch-deutschen Kulturtransfers. Quellen zur Tanzkultur um 1700“ Hildesheim 2008, diverse Aufsätze zum Tanz im 17. und 18. Jahrhundert.

 

Hillary Burlock, London, Great Britain:

Burlock 2

Hillary Burlock is a PhD student at Queen Mary University of London, and her thesis explores the intersection of late Georgian politics and social dance. In 2017, she completed her Masters degree on Georgian election balls at the University of Oxford. She has researched and performed dances from the late eighteenth and early nineteenth centuries for the past ten years, both in Canada and the UK. As a BSECS and Georgian Papers Programme Fellow, Hillary Burlock hopes to demonstrate that the ballroom was an intensely politicised sphere of activity in late Georgian Britain.

 

Tanzkompanie Chorea Basileae, Basel, Switzerland:

Chorea Basilea 1Die Schweizer Tanzkompanie wurde im Jahr 2016 von Mojca Gal in Basel gegründet. Unter wichtigsten Produktionen gehören: «Das Dornröschen, ein historisches Ballett» (2016), «Von Königen, Göttern und Dämonen» (Co-Produktion mit FAMB Basel, 2018), Händels «Terpsicore» und eine Ballett-Pantomime «Die neunte Muse», (Co-Produktion mit dem Zürcher Barockorchester/Ensemble Ad Fontes sowie Postdamer Festspiele Sanssouci), 2019). Die Kompanie arbeitet regelmässig mit Philipp Grässle (Bühnenbild) und Gerrit Berenike Heiter (Regie und Pantomime) zusammen.

 

Anne Daye, Bedford, Great Britain: siehe oben

 

Maria Derkach, Moskau, Russia:

Derkach 1Graduated from Kaluga Dance College in 1998, Maria Derkach began to study historical dances in 2005. Now Maria is one of the leaders of the "Golden Forests" early dance school and teaches classes of different levels on various topics from Baroque to XIX century social dancing. She gave classes all over Russia as well as in Ukraine and Belarus. Currently Maria's main interest is German and Russian dancing culture in the first third of the XIX century.

 

Pierre François Dollé, Paris, France:

Dolle 1MLPierre-François Dollé, choreographer, dancer, teacher and dance researcher. After several experiences in companies in Germany and England, Pierre-François returns to France and specializes in ancient dances, including "Belle Dance", French Renaissance and dances of the early nineteenth century. He co-founded the Cie Fantaisies Baroques, with which he continues his work of creation, transmission and research on historical treaties. Pierre-François is as well a choreographer for several dance or theatre companies, being invited in Poland, Austria, United States or Japan to create, using the ancient dance material in contemporary pieces.

 

Eugenia Eremina-Solenikova, St. Petersburg, Russia:

Solenikova 1

PhD student in the Vaganova Ballet Academy, member of the scientific committee of the annual dance reconstruction conference at the Vaganova Ballet Academy, scientific editor of the proceedings of the conference.

 

Matilda Ertz, Louisville, Kentucky, USA:

Ertz 1

Dr. Matilda Ann Butkas Ertz is a musicologist who specializes in music and dance studies, particularly ballet music from the nineteenth and twentieth centuries, and Italian ballets of the nineteenth century. She has a PhD in Musicology from the University of Oregon preceded by degrees in piano performance, pedagogy, and education. She is a piano instructor at the Youth Performing Arts School and lecturer in music history at the University of Louisville School of Music where she also teaches piano and harpsichord.

 

Maria Cristina Esposito, Chieti, Italy:

Esposito 1Graduated in ancient Greek literature, after ballet studies at the National Academy of Dance (Rome) she specialized in Renaissance and Baroque dance. As coordinator of the Dance Laboratory at the Teatro Marrucino in Chieti (1998-2006), she has signed choreographies for operas (Monteverdi, Cherubini, Mozart, Donizetti, Boito, Stravinskij). As literature teacher in the High School of Human Sciences, member of AIRDanza and CID-Unesco, president of the Licita Scientia Association, she held historical dance seminars at the Music Conservatories, Dance High Schools, and participated in international conferences on research in dance. She coordinated the Study Conference "Ovid and the poetic imaginary in the western arts" (Sulmona, 2017). Currently, she is engaged in research on the sources of nineteenth-century dance in Abruzzo.

 

Cie Fantaisies Baroques, Boulogne-Billancourt, France:

Fantaisies Baroques 3klThe Fantaisies Baroques Company, Irène Feste and Pierre-François Dollé, designer of choreographic and musical journeys, offers shows evoking the splendour of the XVIIth and XVIIIth centuries. During these times, the dancers' grace and virtuosity used to mix with the extravagance and burlesque of stage actors such as Molière's players or the Commedia dell'arte's. Our artistic approach is also nourished by historic treatises and collections such as the Orchesography of Thoinot Arbeau (1588), Chorégraphie ou l'Art de décrire la danse of Raoul-Auger Feuillet (1700), Le Maître à danser of Pierre Rameau (1725), in order to enrich our work creativity thanks to authentic discoveries. Thus, we are able to recreate this choreographic repertoire called “Belle-Dance” (meaning “beautiful dance” and being dances that used to be practised at Court and at the Opera).
The company carries on its journey until the end of the XIXth century (the Emperors century), going from Napoleon's  quadrilles to ball dances from the Second Empire. Our latest research topic are the St Léon notebooks, the pré-romantic ballet style. All our artists, dancers, musicians and actors are specialists of those periods' styles. Our musicians play on ancient instruments the repertoire of the leading light composers from those times such as Lully, Charpentier, Vivaldi, Haendel, Mozart, Grétry, Offenbach, Strauss, etc. The company had the chance to perform in various prestigious places : the Château of Sceaux, the Fine Arts Museum in Orléans, The Château of Valençay, the Château of Mery-sur-Oise, the Château of Gressy, Versailles' Grand Trianon, the Hôtel de Crillon, the Pyramids of Marly, the Hôtel de Ville of Paris, the Château of Fontainebleau, the Salons France-Amériques, as well as in numerous festivals in France, Lithuania, Japan or Poland...

 

Irène Feste, Arcueil, France:

Feste 2

Professional dancer, choreographer, dancing master specialized in the historical dances from XVIth to XIXth centuries, co-founder of Cie Fantaisies Baroques. After a diploma of master engineer in telecommunications and networks and state diploma of teacher in classical dance, Irene specializes in the repertoire of early dance mainly in Baroque dance and dance of the early 19th century.

 

Dmitry Filimonov, Moskau, Russia:

Filimonov 2

Dmitry Filimonov started his dancing career in 1993 as a competitive dancer and came to early dances in 2002. He teaches historical dance in the “Golden Forests” dance studio (a co-leader of the studio). He is head of the historical dance research seminar in Moscow. Dmitry gave lectures at many international conferences and has published several articles on early dance topics from 16th to 19th century.

 

Carola Finkel, Frankfurt am Main, Germany:

Finkel 1

Dr. Carola Finkel ist Dozentin für Musikwissenschaft und seit Januar 2017 Wissenschaftliche Mitarbeiterin im DFG-Projekt „Verzeichnis der Werke Giovanni Pierluigi da Palestrinas“ an der Hochschule für Musik und Darstellende Kunst Frankfurt am Main. In August/September 2017 Stipendiatin der Herzog August Bibliothek Wolfenbüttel (Thema: Jaymes Recüeil de Contre Dances). Forschungsschwerpunkte: Tanz und Hofkultur im 17. und 18. Jahrhundert sowie Nordische Musik des 19. und 20. Jahrhunderts.

 

Mojca Gal, Basel, Switzerland:

Gal 2Mojca Gal ist als internationale Musikerin, Tänzerin und Choreografin tätig. An der Schola Cantorum Basiliensis studierte sie Barockvioline bei Amandine Beyer und anschliessend ein CAS in historischem Tanz. Seit Januar 2018 absolviert sie die ISTD Ausbildung in der Cecchetti Ballett Methode. Sie tritt mit Musikensembles wie Ad Fontes, Ensemble Arabesque, Freitagsakademie und Tanzkompanien wie Chorea Basileae und Corpo Barocco (2019) auf.

 

Susan de Guardiola, Moscow, Russia:

Guardiola 1Susan de Guardiola (BA, Yale; MSEd, University of New Haven) is an independent scholar in social dance history, an American resident in Russia. She has presented her work at conferences including the Dolmetsch Historical Dance Society Conference, the International Congress for Medieval Studies, and Stanford University Historical Dance Week. In 2013-2014 she conducted research at Harvard University as a New England Regional Fellow. Research interests include improvisation in social dance, the evolution of the ballroom repertoire over the course of the nineteenth century, and the development of American social dance from its European origins. Her teaching focuses on exploring and recreating both the skill sets and mindsets of the social dancers of the past. She publishes brief dance reconstructions and research excerpts online at Capering & Kickery (http:// www.kickery.com).

 

Rebecca Harris-Warrick, Ithaka, NY, USA:

Harris Warrick 1

Rebecca Harris-Warrick is a professor of music history at Cornell University (USA). Having been introduced to early dance as a graduate student at Stanford University, she gradually began including dance topics within her musicological research. Early on she investigated ballroom dancing at the French court during the reign of Louis XIV (Early Music 14/1, 1986); more recently she has become interested in balls as they were staged inside of French operas; fictional “Venetian” balls figure within her most recent book, Dance and Drama in French Baroque Opera (CUP, 2016).

 

Hubert Hazebroucq, Paris, France:

Hazebroucq 1

Hubert Hazebroucq is a choreographer, dancer, teacher and independant researcher specialized in Renaissance and Baroque dance since 1998. With his company Les Corps Eloquents, founded in 2008, he is invited in many international festivals (Utrecht) and he performs with famous early music ensembles like Doulce Mémoire. He is a board member of the association of searchers ACRAS17-18, and holds a Master degree on ballroom dancing around 1660. He works principally on the technique and poetics in dance from the 15th to the 18th century.

 

Gerrit Berenike Heiter, Köln, Germany:

Heiter alt 1Gerrit Berenike Heiter arbeitet aktuell an ihrem Dissertationsprojekt der Theaterwissenschaft an der Universität Wien. Ihre Forschungsarbeit umfasst eine Vergleichsstudie, welche sich sowohl mit dem französischen Hofballett als auch mit jenem der österreichischen Habsburger im 16. und 17. Jahrhundert beschäftigt. Sie unterrichtet Tanzgeschichte an der Hochschule für Musik und darstellende Kunst Mannheim. In ihrer künstlerischen Tätigkeit als Schauspielerin, Tänzerin und Pädagogin hat sie sich auf Körper- und Maskentheater, Commedia dell’arte, Barocktheater und historischen Tanz spezialisiert. Neben der Mitwirkung in barocken Musiktheaterprojekten ist sie im Rahmen zeitgenössischer Stücke zu sehen, welche an der Schnittstelle zwischen Tanz, Musik, Performance und Theater stehen.

 

Birte Hoffmann-Cabenda, Hamburg, Germany:

Hoffmann Cabenda farbe 1

Birte Hoffmann-Cabenda studierte Mathematik, Betriebswirtschaftslehre und Informatik an der Universität Hamburg. 1975 kam sie erstmalig mit historischem Tanz in Berührung und besuchte seither zahllose Kurse und Konferenzen in dem Bereich. 1980 erhielt sie ein „teaching certificate“ der DHDS und begann 1981, selbst zu unterrichten. Inzwischen blickt sie als Tanzleiterin auf eine langjährige Rekonstruktions-, Vortrags- und Lehrtätigkeit im Bereich Historischer Tanz zurück.

 

Guillaume Jablonka, Asnieres sur Seine, France:

Jablonka 1

Guillaume Jablonka trained as a ballet dancer in Strasbourg and discovered baroque dance while working for L'Eventail (M.G. Masse). He then performed for Ana Yepes, Sigrid T'Hooft, Deda Cristina Colonna or Hubert Hazebroucq. In 2006 he founded Divertimenty and choreographed several shows. His research focuses mainly on the reconstruction of the divertissements and pantomime ballets notated in 1782 by Auguste Ferrere. Paris Sorbonne University invited him to teach baroque dance to students interested in HIP.

 

Alan Jones, Paris, France:

Alan Jones is an American dance historian based in Paris. After performing as a Baroque dancer in the United States and Europe, he is presently working on a book concerning ballet and pantomime in the United States from 1785 to 1812. His first book, Dictionnaire du désir de la bonne chère (Honoré Champion, 2011), concerned culinary history in the eighteenth century.

 

Rostislav Kondratenko, Moskau, Russia:

Kondratenkov 1

Rostislav Kondratenko is a teacher and scholar of Dance History from Moscow, Russia. He’s been teaching and researching social dance history as a part of “Golden forests” historical dance studio for nearly 20 years. He’s an author of several articles, conference lectures and presentation concerning various social dances from the 16th to the 19th century.

 

LA DANZA MÜNCHEN, München, Germany:

Werther Ballszene 1

Das Ensemble LA DANZA MÜNCHEN wurde 1999 von Jadwiga Nowaczek gegründet und bringt historische Tänze des 15. bis 19. Jahrhunderts zur Aufführung. Der Schwerpunkt der Arbeit liegt auf dem Barocktanz. Ziel ist, mit höchstmöglicher Genauigkeit und Authentizität die historischen Choreographien darzustellen. Viele Auftritte im In- und Ausland, u. a. bei den Tanztagen in Bad Ischl (2007-2015) mit jährlich wechselnden abendfüllenden Programmen, beim Taubert-Festival in Leipzig 2017 sowie Mitwirkung in Barockopern, zuletzt in Diana amante von Giuseppe Bernabei Kaufbeuren und Ingolstadt 2018.

 

Barbara Menard-Pugliese, Medford, Massachusetts, USA:

Menard Pugliese 1Barbara Pugliese has been co-director of the Commonwealth Vintage Dancers since 2007. Founded in 1983, CVD specializes in reconstructing, teaching, and performing American ballroom dances of the Nineteenth and early Twentieth Centuries. The dance company sponsored an international dance week in Newport, Rhode Island for 25 years, and are currently hosting seven formal balls a year as well as performing for museums and festivals. Barbara researches ballroom dances from 1770 to 1929, and is an expert in material culture and women's studies of the same time period. She has a Masters in Library and Information Science and has worked as an administrator for human rights charities and academic institutions.

 

Michaela Mettel, Saarbrücken, Germany:

Mettel farb 1Michaela Mettel ist Promovendin am Lehrstuhl für Geschichte der Frühen Neuzeit an der Universität des Saarlandes mit dem Schwerpunkt auf Geschlechterrollen in den Tanztraktaten der italienischen Renaissance. Weitere Forschungsinteressen liegen in den Bereichen Körpergeschichte, Militärgeschichte (mit Schwerpunkt auf Fechttraktaten der italienischen Renaissance), Living History, geisteswissenschaftliche Methodologie und Theorie sowie historisch-performative Konzepte in der Kulturellen Bildung. Sie arbeitet als freie Dozentin für Renaissancetanz, Kulturelle Bildungsprojekte sowie als Lehrbeauftragte an der Universität des Saarlandes.

 

Ekaterina Mikhailova-Smolniakova, St. Petersburg, Russia:

Smolnyakova 1Art and dance historian, PhD Art history student (European University in St. Petersburg, Art History department), studied at Vaganova Ballet Academy (2010-2012) and Venice International University (2016, 2018). The head of the renaissance dance ensemble "Vento del Tempo" (since 2006), the author of the book "Early Ballroom Dances. Renaissance Era". Scientific interests: Renaissance Art History, Visual Studies, History and Theory of the Early Dance. Latest articles published: "Warburgian Studies in Russia", "Choir, Carole and Round Dance: Sources and Sematics of the Antique Circle Dance Image in European Painting of XIV-XVI centuries", "Maenad in Movement: emotional potential of a classis formula from Antiquity to 21th century".

 

Nona Monahin, Amherst MA, USA:

Monahin 1

Nona Monahin teaches Renaissance and Baroque dance in the Five College Early Music Program at Mount Holyoke College, Massachusetts, USA. She holds a PhD in Musicology (with a focus on Renaissance dance) from Monash University, Melbourne, Australia. Nona has taught numerous dance-music workshops, choreographed for many Shakespeare productions, and has a chapter in the recently published Oxford Handbook of Shakespeare and Dance (2019). Her current research focuses on the relationship of music and dance in contemporary choreography.

 

Jadwiga Nowaczek, Ismaning, Germany:

Nowaczek 1

Klassische Tanzausbildung, Studium der Schulmusik, Rhythmik und Musikwissenschaft. Seit 1980 Rekonstruktion von historischen Tänzen des 15.-19. Jahrhunderts nach den Primärquellen. Choreographie mehrerer Ballette, u. a. von Dido und Aeneas (Purcell), Orfeo y Euridice (Leopold I) und Pygmalion (Mouret). Operninszenierungen: Purcell, Dido und Aeneas (2007) und Lapier, Felix in Fide Costanzia (2018). Lehrauftrag für Historischen Tanz an der Musikhochschule München. Leiterin von La Danza München.

 

Daniele Pascale Guidotti Magnani, Cesena, Italy:

Pascale 1Daniele Pascale obtained his PhD in Architecture (2015) at the University of Bologna, where he teaches as an adjunct professor. The focus of his research is the history of architecture and the city, with the stress on Bologna and Romagna in the modern period (XV-XVIII centuries). He partecipated to national and international congresses (Biblioteca Hertziana, Roma; Università IUAV di Venezia; Universidad de Granada).

 

Antonia Pugliese, Woburn, Massachusetts, USA:

Pugliese 1Dr. Antonia Pugliese has been co-director of the Commonwealth Vintage Dancers since 2012. She researches and reconstructs dancing and social events of the years 1770 to 1929. Her teaching style, which is exacting but tempered with kindness and humor, is popular with young people. She loves curating fairytale experiences for dancers, and recently taught the Charleston to a crowd of over 800 people at the Great Gatsby Ball in Boston. Antonia recently received her PhD in Molecular Microbiology from Tufts University.

 

Angela Rannow, Dresden, Deutschland:

Rannow 1Angela Rannow, geb. 1963, Studium der Anglistik und Arabistik, Forschungsstudentin im Projekt „Künstlerische Begabungen entdecken, fördern und entwickeln“ der Musikhochschule „Felix Mendelssohn Bartholdy Leipzig“, wissenschaftliche Mitarbeiterin der Theaterhochschule „Hans Otto“, Leipzig, und der Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“, Arbeit im Bereich PR, Öffentlichkeitsarbeit und Dramaturgie für die Deutsche Tanzkompanie Neustrelitz, PR-Arbeit für die Staatliche Ballettschule Berlin und Schule für Artistik, seit 2003 wissenschaftliche Mitarbeiterin der Palucca Hochschule für Tanz Dresden, Lehre (Tanz- und Kunsttheorie, Tanz- und Kunstgeschichte, Dramaturgie) in allen Studiengängen (BA Tanz, BA Tanzpädagogik, MA Choreografie, MA Tanzpädagogik, Elevenprogramm) , Mentorenschaften für theoretische und tanzpraktische Projekte, Mitarbeit in Gremien der akademischen Selbstverwaltung, Veröffentlichungen und Herausgeberschaft im Bereich Tanz, u. a . zum Modernen Tanz (Mary Wigman, Palucca), zu Improvisation und Älterer Tanzgeschichte.

 

Daria Sundukova, Moskau, Russia:

Sundukova 1

Graduated at the Moscow State University (Department of History), currently doing her research in the history of urban dancing culture in Russia in the late 18th – early 19th century, studies early dance since 2005 (Golden Forests club, Moscow).

 

Bill Tuck, London, Great Britain:

Tuck 1

Bill Tuck is the current Chairman of the Early Dance Circle. He performs in theatre with the Chalemie company where his interests are in commedia dell’arte and its connections with historical dance. He has worked as accompanist on pipe & tabor for many renaissance dance groups and plays sackbut in a number of early music ensembles. He holds a PhD in mathematics from Sydney University and before his retirement was a Senior Research Fellow at University College London.

 

Davide Vecchi, Ferrara, Italy:

Vecchi 1aDavide Vecchi is an Italian musician, dancer and choreographer specialized in Renaissance and Baroque repertoires. He intends to create connections between Music and Dance. He teaches renaissance and baroque dance throughout Italy, and directs Felsina Danzatrice, an early dance school based in Bologna. As a choreographer he works both in reconstruction of early treatises, and composing original choreographies for concerts and operas (La serva padrona, Il ritorno d’Ulisse in patria, La catena d’Adone).

 

Eva Zöllner, Hamburg, Germany:

Zoellner sw 1

Studium der Musikwissenschaft und Anglistik an der Universität Hamburg, Promotion 1998. Seither tätig als freiberufliche Redakteurin, Autorin, Übersetzerin und Dozentin, Vortragstätigkeit in Deutschland, Großbritannien und den USA.