Department:School of Performance
Courses taught: Performing Arts
Simone teaches theory and practice on the Performing Arts course. He is a composer specialised in music theatre and contemporary opera. Simone’s research focuses on musico-theatrical applications and interdisciplinarity.
Simone Spagnolo is a composer and Lecturer in Musical Theatre. His music has been performed in internationally known venues and festivals such as Royal Festival Hall, St.Martin-in-the-Fields, Blackheath Halls, Riverside Studios, Tete-a-Tete Opera Festival, Italian Cultural Institute London, Birmingham Conservatoire, Stanford University, Los Angeles’ Aratani Theatre, Brno’s Janacek Academy, Budapest’s Liszt Academy, Zaragoza’s Conservaorio Superiore, China’s Chongqing University, Hong Kong’s Yuen Long Theatre, Italy’s CEF Festival and Pennsylvania’s Great Lakes Film Festival, among others. He has received several awards, including the Asia America Symphony Orchestra Prize (Los Angeles), the Philip Bates Prize (Birmingham) and David Turton Prize (Middlesex University). In 2011, he was appointed artist-in-residence at Bergen's USF Verftet, Norway.
Simone’s discography includes three albums, ‘Silenzio’, ‘Mir Fabergé’ and ‘Closure’, which are available on iTunes and all major online music stores.
Having gained a Ph.D. in composition at Trinity Laban Conservatoire of Music and Dance, Simone has worked as Lecturer in Music Theatre at the University of Cumbria and guest lectured at institutions such as the Royal Central School of Speech and Drama and University of York. Simone is a contributor of The New Grove Dictionary of Musical Instruments and artistic director of The Music Theatre Hub.
Simone’s research interests focus on contemporary music theatre and opera as interdisciplinary art forms. At the same time, he has researched on post-WWII experimental Italian opera, the concept of openness in relation to the performing arts, and musical graphic scores. As an active composer, Simone extensively engages in practice as research projects.
Opera Viscera, Trinity Laban Conservatoire, ChinaWest Productions, Gray Lady Productions, Dance Ahead, WOH Productions, Fabergé LTD, Lost Picture Production, Balls in the Air Productions, violist Rivka Golani, pianist Gabriele Baldocci.
Selected artists collaborated with:
Conductors Diego Garcia Rodriguez and Michael Young; musicians Linda Hirst, Rivka Golani and Allegri String Quartet; playwrights Peter Cant, Roberto Cavosi and Giordano Trischitta; directors Luc Mollinger, Ben Samuels and Jacek Scarso; actors Sasha Waddell and Marco Gambino; choreographers Zoe Gadd and Adam Russell; photographers Valery Katsuba and Mirko de Nicoló; interaction designer Michele Panegrossi.
Simone Spagnolo (2016). 'Unsaid by the Mouth, but Spoken by the Drums', in Institute of Composing Journal, 9th Issue.
Simone Spagnolo (2016). 'Touch-less: Wearable Music and the Score Theatre', in Studies in Musical Theatre Journal, Special Issue, (under review).
Johnson, Graham and Simone Spagnolo. (2013). ‘Musical Saw’. In The New Grove Dictionary of Musical Instruments, ed. Laurence Libin. New York: Oxford University Press.
Totoli, Alessandra. (2015). Vocalisations with Movement (Vocalizzi con Movimento), English-Italian bilingual trans. Simone Spagnolo. Salerno: Edizioni Casa Musicale Cav. Quinto Fabio.
Spagnolo, Simone. (2014). Each Tale Chases Another. Metaphorical Representations, Non Linearity and Openness of Narrative Structure in Italian Opera from Post-WWII to It Makes No Difference, Ph.D. thesis. Trinity Laban Conservatoire: Jerwood Library, City University London.
Spagnolo, Simone. (2015). ‘I Dreamt a Theatre, Another Theatre. Non-Linearity of Narrative Structure in Italian Post-WWII Experimental Opera’, (under review Cambridge Opera Journal).
Royal Central School of Speech and Drama: ‘The Colour Blue. A Musico-Theatrical Metonymy’, SongArt Symposium (Institute of Musical Research), London, 27 Jun 2015.
Royal Central School of Speech and Drama: ‘Touch-less: Wearable Graphic Scores for Acting Singer’, SongArt Symposium (Institute of Musical Research), London, 26 Jun 2015.
Royal College of Music: ‘Italian Experimental Post-WWII Opera as a Means to Reflect on the Concept of Openness to a Plurality of Interpretations’, CUK Research Forum, London, 23 May 2015.
Oxford Brookes University: ‘Opera Aperta: Non-linearity of Narrative Structure in Italian Experimental Opera’, OBERTO Opera Research Conference, Oxford, 17 June 2014.