Dr Naomi Matsumoto trained as a singer at Aichi Prefectural University of Fine Arts and Music (Japan), Liceo Musicale di G. B. Viotti (Italy), and Trinity College of Music, London. Her teachers include Rita Orlandi, the late Robert Spencer, Ian Partridge and Teresa Cahill. Specialising in Baroque music, she sang in various concerts and opera productions during the 1990s. She then commenced her studies in historical musicology and achieved MMus (2000) and PhD (2005) degrees from the University of London.
She has scholarly interests in Italian opera (the 17th and 19th centuries), the music of Purcell and Monteverdi and the performance practice of the Baroque period. She has received several awards including the Overseas Research Scholarship, the British Federation of Women Graduates National Award, and the Gladys Krieble Delmas Foundation British Award. In 2011, she instigated an international/interdisciplinary research project to explore the relation between nature and art-production which has won the Daiwa Anglo-Japanese Foundation Award. She is currently a member of the Japan Musicological Society and the Society for Seventeenth-Century Music (USA).
BA, LTCL, Perfezionamento Diploma di Canto Lirico (Liceo Musicale di Viotti), Postgraduate Diploma (Trinity College of Music), MMus (London), PhD (London)
‘Sign of Madness – Gender, Costume and Gesture in the Portrayal of Insanity on the Operatic Stage’, presented at the Interdisciplinary Conference, ‘Confined Spaces: Considering Performance, Madness and Psychiatry’, at Corpus Christi College, Cambridge University, Cambridge, 18 September 2012.
‘Michael Costa at the Haymarket: a Proto-Modern ‘Director of Music’ in a London Opera House’, presented at the International Conference on Orchestral Conducting in the 19th Century, at Il Centro di Arte Moderna e Contemporanea, La Spezia, Italy, 16 July 2011.
‘Free Virtuosity and Rehearsed Traditions: A Study of the Flute-Accompanied Cadenza in Donizetti’s Lucia di Lammermoor’, presented at the International Conference ‘Oltre Note: l’improvvisazione nella musica occidentale tra settecento e ottocento’, at Il Centro di Arte Moderna e Contemporanea, La Spezia, Italy, 15 July 2010.
‘From Padua to Venice: Pio Enea degli Obizzi (1592-1674) and the Birth of Public Opera’, presented at the 14th Biennial International Conference on Baroque Music, at Queen’s University, Belfast, 3 July, 2010.
‘L’Assicurato Cognito: the Authorship of the Libretto of Il ritorno d’Ulisse in patria’, presented at the 13th Biennial International Conference on Baroque Music, at University of Leeds, 4 July, 2008.
‘A Rich Vein of Success: the English Mad Song and Early Eighteenth-century Burlesque Theatre’, presented at the Interdisciplinary Conference ‘John Rich and the 18th-Century London Stage’, at Royal College of Surgeons, London, 27 January 2008.
‘Manacled Freedom?: A Study of recordings of the Flute Cadenza of Lucia di Lammermoor’, presented at the 2007 CHARM/RMA Annual Conference “Musicology and Recordings”, at Royal Holloway College, University of London, Egham, 13 September 2007.
‘An anonymous setting of L’Ospedale and the question of an “asylum opera” genre’, presented at the 12th Biennial International Conference on Baroque Music, at Warsaw University, 29 July, 2006.
‘Monteverdi and the “Madness” of Iro: Asylum Seeking or a Return to Homeland?’, presented at the 13th Annual Conference of the Society of Seventeenth Century Music, at Northwestern University, Evanston, USA, 16 April 2005.
‘Henry Pucell’s Bess of Bedlam: Performing “the Mad” in Seventeenth Century England’, presented at the 11th Biennial International Conference on Baroque Music, at Royal Northern College of Music, 17 July 2004.
Norton, Barley and Matsumoto, Naomi, eds. 2018. Music as Heritage: Historical and Ethnographic Perspectives. London: Taylor and Francis. ISBN 9781138228047
Norton, Barley. 2018. Filming Music as Heritage: The Cultural Politics of Audiovisual Representation. In: Barley Norton and Naomi Matsumoto, eds. Music as Heritage: Ethnographic and Historical Perspectives. Abingdon: Routledge, pp. 79-102. ISBN 9781138228047
Matsumoto, Naomi. 2018. L'opera dei pupi, Torneo, and Early Opera: Shared Traditions and Intangible Experiences. In: Barley Norton and Naomi Matsumoto, eds. Music as Heritage: Historical and Ethnographic Perspectives. Routledge-Taylor and Francis. ISBN 9781138228047
Matsumoto, Naomi. 2017. Giovanni Vittorio Rosi's Musical Theatre: Opera, Operetta and the Westernisation of Modern Japan. In: Clair Rowden and Michela Niccolai, eds. Musical Theatre in Europe 1830-1945. Turnout: Brepols. ISBN 978-2-503-57766-1
Matsumoto, Naomi. 2015. Charles Marshall’s “Dioramic” Scenery: Staging Verdi in Victorian London. In: UNSPECIFIED, ed. Staging Verdi and Wagner. Turnhout: Brepols, pp. 53-80. ISBN 9782503564821
Matsumoto, Naomi. 2014. Nature in Music, Music in Nature: Imitation, Quotation and Representation. In: Naomi Matsumoto and Kazuto Yamamoto, eds. SHIZENGAKU: the Search for a Coming Aesthetic. Kyoto, Japan: Nakanishiya, pp. 124-133. ISBN 9784779507915
Pryer, Anthony J.. 2014. ‘Real’ Nature, ‘Aesthetic’ Nature and the Making of Artworks: Some Challenges of Cross-Cultural Collaboration (in Japanese Translation). In: Kazuto Yamamoto and Naomi Matsumoto, eds. Shizengaku: a Search for the Coming Aesthetic. Kyoto: Nakanishiya, pp. 6-26. ISBN ISBN 978-4-7795-0791-5
Matsumoto, Naomi. 2014. Michael Costa at the Haymarket: the Establishment of the Modern Role of "The Director of Music". In: Roberto Illiano and Michela Niccolai, eds. Orchestral Conducting in the Nineteenth Century. Turnhout: Brepols, pp. 25-60. ISBN 9782503552477
Matsumoto, Naomi. 2011. Manacled Freedom: 19th-Century Vocal Improvisation and the Flute-Accompanied Cadenza in Donizetti’s Lucia di Lammermoor. In: Rudolf Rasch, ed. Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries. Turnhout: Brepols, pp. 295-316. ISBN 978-2503542447
Matsumoto, Naomi. 2016. "Ghost Writing”: an Exploration of Presence and Absence in Lucia di Lammermoor (1835)’. Word and Music Studies, 15, pp. 63-84. ISSN 1566-0958
Matsumoto, Naomi. 2015. Book Review: James Kennaway (ed.), Music and the Nerves, 1700–1900 (Basingstoke: Palgrave Macmillan, 2014),. Medical History, LIX(2), pp. 333-335. ISSN 0025-7273
Matsumoto, Naomi. 2014. Il plagio vs "una piacevole reminiscenza al nostro orecchio". The Siege of Rochelle (1835) di Michael Balfe e il "lavoro culturale" della critica estetica. Estetica Studi e Ricerche, iv(1), pp. 83-100. ISSN 2039-6635
Matsumoto, Naomi. 2012. Liner notes to Angelo Ephrikian (dir.), Jacopo Peri: L’Euridice. Jacopo Peri: L’Euridice,
Matsumoto, Naomi. 2012. Liner notes to Cappella Marciana, Voce Mea ad Dominum: Celebrations of the 400th Anniversary of the death of G. Croce da Chioggia. Celebrations of the 400th Anniversary of the death of G. Croce da Chioggia,
Matsumoto, Naomi. 2012. Liner notes to Paolo Cammozzo (dir.), Laudate Dominum: Masters of the Chapel of St Mark’s. Laudate Dominum: Masters of the Chapel of St Mark’s,
Matsumoto, Naomi. 2012. Liner notes to Quintetto Vocale Italiano, Gesualdo. Gesualdo Six Books of Madrigals for 5 Voices,
Matsumoto, Naomi. 2011. Pio Enea degli Obizzi and the Opera Torneo Genre – Towards an Understanding of the Commercialisation of Early Italian Opera’. The Journal of the Musicological Society of Japan, lvii(1), pp. 56-68. ISSN 00302597
Matsumoto, Naomi. 2010. Englishness and Burlesque on the London Stage: the Case of The Dragon of Wantley. The Journal of the Musicological Society of Japan, 55(2), pp. 97-110.
Matsumoto, Naomi. 2009. The dating of MS, GB-Lcm: n. 927, The Dragon of Wantley. The Journal of the Musicological Society of Japan, 54(1), pp. 75-77.
Matsumoto, Naomi. 2008. The Identity of the librettist of Monteverdi’s Il ritorno d’Ulisse in patria. The Journal of the Musicological Society of Japan, 53(2), pp. 134-137.
Matsumoto, Naomi. 2006. An anonymous setting of L’Ospedale and the question of an “asylum opera” genre. The Journal of the Musicological Society of Japan, pp. 45-61.
Conference or Workshop Item
Matsumoto, Naomi. 2002. 'Global Presentations of Madness in Musical Theatres: a Comparative Study of Britten’s Curlew River and Juro Motomasa’s Sumidagawa'. In: Musicology and Globalization: Proceedings of the International Congress. Shizuoka, Japan.