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.