Barbara Nestola is a musicologist and research engineer with the CNRS (CESR-CMBV). Her work focuses on the circulation of music between Italy and France and other European countries; on opera productions at the Académie Royale de Musique in Paris;  and on the crossover of musical practices in Paris theatres under the Ancien Régime. She specialises in Italian vocal declamation, delivers singing masterclasses and is involved in opera productions. She regularly prepares professional singers for concerts, recitals, opera productions and audio-visual recordings.

An expert on Marc-Antoine Charpentier, she has published several works about the composer and contributed to CMBV Monumentale publications. Her latest work is about the Duchess of Maine, patron of the Arts. She is involved in cross-disciplinary musicology and literature projects.

Julien Dubruque is an alumnus of the École Normale Supérieure, an agrégé de l’Université, and has a Ph.D. in musicology. He has studied harpsichord and basso continuo at the Boulogne-Billancourt Conservatoire, and aesthetics at the Paris Conservatoire. He teaches Classics in classes préparatoires at the Lycée Victor Hugo in Paris and is a researcher and an editor at the Centre de musique baroque de Versailles, where he has published more than thirty critical editions, as well as an associated researcher at the Institut de recherches en musicologie (IReMus). He collaborates in the Opera Omnia Rameau (OOR), and in the Édition Numérique, Critique et Collaborative de l’Encyclopédie (ENCCRE).
 

Since his degree from the École Pratique des Hautes Études, Laurent Guillo has been working on 16th-18th century printed and manuscript musical sources from France, Switzerland and the former Netherlands. He has widened his research to include the history of libraries and collections of early music, biographies and the study of music publishing legal & material aspects (privileges, typography & transcribing materials, sheet music paper, copyists, stencilling, etc.). His research focuses on the history of book publishing, investigating its technical, intellectual and commercial aspects and their interaction. He has been working with the CMBV since September 2019 and is an associate member of the music research institute IReMus.

Bénédicte Hertz holds a PhD in musicology and specializes in eighteenth-century religious music in the French provinces, specifically the motet à grand chœur, the related archives, and the way the repertoire circulated and was performed during the Ancien Regime. For several years, she was the staff musicologist for Christophe Rousset’s ensemble Les Talens Lyriques.

Thomas Leconte works as researcher and editorial manager in the CMBV Research Department (CESR, UMR 7323). His focus is on the historical and musical aspects of 17th century French salon music and early grands motets under Louis X1V (1643-1682). He has produced many publications on the subject. He also has a special interest in 17th and 18th century French provincial religious music and in the musical repertoires and practices of extraordinary ceremonies at the French court.

Solveig Serre, historian and musicologist, is a CNRS (CESR/CMBV) research fellow and lecturer at the École Polytechnique. She specialises in the history of opera houses under the Ancien Régime and the history of French folk music. With Luc Robène she directs the PIND research project (Punk is not dead. Une histoire de la scène punk en France, 1976-2016) financed by the ANR. Her publications include L’Opéra de Paris (1749-1791): politique culturelle sous l’Ancien Régime (Paris, CNRS Éditions, 2010).

Jean Duron’s work focuses on music under Louis XIV, notably its performance aspects (musicians, counterpoint, composition & theory), and on the major musical forms (grand motet, tragédie en musique), court music and cathedral music. His research has led to the publication of several essays on contemporary neo-Latin poetry.

With a PhD in History of Art, Mickaël Bouffard specialises in the history of gesture and bodily techniques. His current research topics include an iconography of baroque entertainments (costume, dance, theatre & opera). He assisted the curators with the Académie Royale de Musique exhibition at the Palais Garnier (summer 2019) and is currently co-curating an exhibition at the Louvre of costume designs from Francis I through Louis XIV. As deputy director to Georges Forestier, he runs the Molière Sorbonne drama school which teaches 17th century staging incorporating the latest research findings. In September 2018 an ambitious project to reproduce 1660’s tragedy theatre costumes was launched, with contribution from the Lycée La Source costume class and the École Duperré embroidery class.  Mickaël Bouffard is on the ThéPARis research seminar team.

Emanuele De Luca is a lecturer in theatre studies at Côte d’Azur university specialising in 17th and 18th century  literature and theatre. His research focuses on the following: the history and repertoire of the Paris Comédie-Italienne; Italian actor/playwrights in France and Europe; French, Italian and European theory concerning the history, poetry and aesthetics of theatrical practices (acting, dance, pantomime, song, music, decor and lighting). At the 2016 international symposium titled La Comédie-Italienne de Paris (1716-1780), Colloque du tricentenaire, Emanuele helped the CMBV create a historically informed stage production called Une Soirée à la Comédie-Italienne de Paris - Théâtre, musique et danse à l’Hôtel de Bourgogne au début du XVIII^e siècle. He co-organises the cross-disciplinary research seminar ThéPARis.

Petra Dotlačilová holds a PhD in Dance Studies at the Academy of Performing Arts in Prague (2016), and a PhD in Theatre Studies at Stockholm University (2020). She specializes in dance history and theatrical costume in Europe from 16^th to 18^th century. Particularly, she explores aesthetic and material properties of costumes, international transfers in design and relations between garments and movement practices.
She participated in the research projects Performing Premodernity at the Stockholm University and  Ritual Design for the Ballet Stage at Leipzig University. Within these projects, she participated in the organization of several workshops and collaborated at costume-making for historically informed performances of Pygmalion (2015, Český Krumlov, Stockholm/Riddarhuset), and Le Devin du village (2019, Stockholm/Confidencen).
At the CMBV, she participates in the research seminar ThéPARis and to the project ‘L’Académie royale de musique : fabrique d’opéra et entreprise de spectacle en France aux XVII^e et XVIII^e siècles’.

Jana Franková has a PhD in Musicology from the Sorbonne (IReMus) and from Masaryk university in the Czech Republic. Her research focuses on the transfer and exchange of foreign influences in 18th century France in the field of music, and the circulation of French culture and repertoire within Central Europe. Since January 2018 she has been guest researcher at the Moravia Library (Moravská zemská knihovna) in Brno in the Czech Republic. As CMBV research fellow, she is running a research project with Barbara Nestola on musical exchanges between France and the lands of the Bohemian crown in the 17^th and 18^th centuries.

After studying at the university of Bologna, Matteo Giannelli has embarked on a PhD in musicology at Tor Vergata university in Rome (under Maria Teresa Gialdroni) and at the CMBV (under Barbara Nestola). His research topic (L’oratorio alla corte di Francesco II d’Este (1662-1694): modalità esecutive, interpreti e simbologie politiche) concerns the oratorios performed in Modena between 1662 and 1694, and will focus on the venues, the modes of performance, the musicians and composers involved, and well as contemporary commentary. Given the host of references in the librettos to the Glorious Revolution of 1688 and the Stuarts’ exile in France, by way of comparison, his research will include the music of the English court at Saint-Germain-en-Laye, which also relates this event.

Christine Jeanneret, musicologist, has a PhD from Geneva university. Her research focuses on baroque opera, genre studies and cultural transfers. She is particularly interested in performance techniques, the role of the body on stage, acting skills and costumes, which involve academic and materials research and practical collaboration with performers. She is currently working at Frederiksborg National History Museum in Denmark and at the Palace of Versailles Research Centre, researching into the performing arts and French artists in Denmark (1660-1800). She is preparing a book on theatre practices in 17^th century Italian operas (Le corps éloquent : représenter les passions sur scène). In collaboration with the CMBV, in 2019 she started a workshop on the figure of Hercules in 17^th and 18^th century Italian and French operas as performed in France.

Judith le Blanc is associate professor at the University of Rouen, specialized in musical theater and French opera of the 17^th and 18^th centuries. Her book Avatars d’opéras. Parodies et circulation des airs chantés sur les scènes parisiennes (Garnier 2014) has been rewarded with the Prix de l’essai of the Prix des Muses Singer-Polignac. She also works as stage director or consultant on performance projects (Pygmalion by Rameau at the Barokkfest in Trondheim; Les Funérailles de la Foire, opéra-comique after Lesage, Fuzelier and d’Orneval). At the CMBV, she participates in the research seminar ThéPARis, for which she organizes the study day Les dessus du théâtre : aspects techniques et esthétiques. She also contributes to the book « L’Académie royale de musique : Fabrique d’opéra et entreprise de spectacle en France aux XVII^e et XVIII^e siècles » (2022), and leads the online resource program on the Malade imaginaire  by Molière and Charpentier.

Silvia Manciati has a PhD in comparative literature & theatre studies (jointly administered by Poitiers and Roma Tor Vergata university, where she is currently working). Her research focuses on Goldoni’s relationship with actors, script and stage during his time in Paris (1762-1793) and involves a study of acting skills, the links between script and staging and the circulation of theatrical practices between Italy and France in the 18th century (focusing on the Comédie-Italienne and the Comédie-Française). As CMBV research fellow, she is conducting a case study for the ThéPARis research seminar on the crossover of acting and staging practices in the Comédie-Italienne and Comédie-Française as shown by Goldoni.

After a lengthy period working as music critic and in radio, Gaëtan Naulleau finally returned to subjects he had embarked upon earlier. A proponent of musicology focusing on the aesthetic and material issues facing historically informed musicians, his PhD investigates polyphonic Mass in France under Louis XIII and Louis XIV (1610-1715) at Tours university under Philippe Vendrix. By pooling information from scores, musical practices, archives and institutions, and by taking into account the architecture of the venues, he sets out to offer a thrilling glimpse of how polyphony was used during Mass.
 

With a PhD in musicology, Thomas Soury teaches history of music at several French universities (Rennes 2, Metz & Reims). He has also co-edited Rameau’s Opera omnia. He specialises in 18th century French opera,  particularly librettology, and has published articles by librettist Louis de Cahusac’s in Diderot’s Encyclopédie (ENCCRE critical essays). He has researched French operatic genres in France, and is preparing a CMBV publication drawn from the symposiums on Ballet in France held in May 2016 in Brussels (published by Classique Garnier). He has also provided the CMBV with scientific input for the production of Rameau’s Paladins (Oldenbourg, 2019) and has compiled a critical edition of the work.

Jacques Szpirglas is a telecommunications engineer with a PhD in mathematics from Paris vi / Pierre & Marie Curie University (1982). In 2015 he obtained a PhD in musicology from the CESR (Renaissance research centre at François Rabelais de Tours university), with a thesis titled Prosopographie des musiciens des Saintes-Chapelles de Paris (148-1640) et de Bourges (1405-1640). His work highlights the lack of aggregate data on musicians under Henri iv, Louis xiii and the young Louis xiv. As CESR research fellow he is currently working with the CMBV on a biographical dictionary of musicians at the royal court under Henri iv (published by Classiques Garnier in 2019), another on musicians under Louis xiii, followed by one on musicians under the young Louis xiv until the end of Cardinal Mazarin’s government (1661).