Nicole Panizza is a critically-acclaimed collaborative pianist, vocal coach, and scholar.

She was awarded her Doctor of Music degree in 2014 (Royal College of Music, London), and is a past recipient of an International Fulbright Award, in support of visiting research fellowships at Harvard University and Manhattan School of Music. Nicole has worked for Opera Australia, the Cologne and Covent Garden Opera Awards, and as Education Manager for The Royal Opera, Covent Garden. Her teachers have included Roger Vignoles and Malcolm Martineau.


“From its first sounds, this unusual recording draws in the listener, captivating with the limpid beauty of both its music and performances…. ” (Nature, 2014)

Vincent Plush

The Australian (2015)

Nicole’s research primarily focusses on the advocacy and championing of American literature and art song, with specific reference to musical settings and performance of the poetry and letters of Emily Dickinson.

Recent research includes the internationally acclaimed album Nature with soprano Jane Sheldon, key lectures and presentations (Singapore, Oxford, Cambridge), and chamber recitals (Vancouver, New York, Paris, Boston and Philadelphia). Current ventures include an album with critically-acclaimed soprano Nadine Benjamin, featuring both seminal and premiere performances of Dickinson-inspired song cycles by Aaron Copland, Juliana Hall, Ella Jarman-Pinto, and Luigi Zaninelli; an inter-medial performance project based on fragment manuscripts of Emily Dickinson with Prof. Suzie Hanna, Dr. Sally Bayley, and renowned folk artist Hannah Sanders; a digital archive showcasing practice-led approaches to the performance and study of Dickinson’s poetry and letters, and an international song project (in conjunction with Harvard University) showcasing critical examples of American war, memoriam and remembrance.

Nicole is a founding member and artistic director of the Emily Dickinson Arts Collective, and a board member of the London Song Festival, and the Arts and Humanities Council (Emily Dickinson International Society (EDIS)). Recent posts include Visiting Research Fellowships (Rothermere American Institute and Faculty of Music, University of Oxford), and Research Summit Fellow, The Orpheus Instituut (Ghent, Belgium). She currently holds the positions of Assistant Professor (Music) (Coventry University) Research Associate (Oxford Song Network), Visiting Academic Research Associate (2018-2019) (TORCH – The Oxford Centre in the Humanities, University of Oxford), and Creative Partner and Advisor (The International Center for American Music (ICAMus)).

Further information can be found at


“Nicole Panizza’s playing is as subtle and sophisticated as the music itself.”

Will Yeoman

Limelight (Australia) (2015)


Monday May 18 2020 / 16:00-19:30

Lyceum Club Internazionale, Palazzo Adami Lami, Florence, Italy

The International Center for American Music (ICAMus) presents




Early Snow; 2003, Testi poetici di Mary Oliver (1935-2019) – Durata: 9:00

AARON COPLAND (1900-1990)

12 Poems of Emily Dickinson; 1949-1950, Testi poetici di Emily Dickinson (1830-1886) – Durata: 27:00


Seven Epigrams of Emily Dickinson; 2003, Testi di prosa poetica dalle lettere di Emily Dickinson (1830-1886) – Durata: 12:00

SAMUEL BARBER (1910-1981)

Knoxville: Summer of 1915, op. 24, H-114; 1947-1950 – Durata: 16:00, Testo poetico di James Agee (1909-1955)

Sure on this shining night and Nocturne; Da Four Songs, op. 13, H-93; 1937-1940 – Durata: 6:00

Sunday, December 1, 2019

Blackheath Halls, London, UK

Emergence: Emily Dickinson

Live at Blackheath Halls

Nadine Benjamin soprano

Nicole Panizza piano

Aaron Copland

A selection from 12 Poems of Emily Dickinson (1949-1951)

Sylvia Glickman

Black Cake: A Recipe by Emily Dickinson (1979)

Juliana Hall

A selection from To Meet a Flower (2015)

Luigi Zaninelli

A selection from Seven Epigrams of Emily Dickinson (2003)

Ella Jarman-Pinto

This Little Rose (2017)

October 2019/18:30-21:00

London, UK

Emergence: Emily Dickinson

Album Launch

Nadine Benjamin soprano

Nicole Panizza piano

Aaron Copland

A selection from 12 Poems of Emily Dickinson (1949-1951)

Sylvia Glickman

Black Cake: A Recipe by Emily Dickinson (1979)

Juliana Hall

A selection from To Meet a Flower (2015)

Luigi Zaninelli

A selection from Seven Epigrams of Emily Dickinson (2003)

Ella Jarman-Pinto

This Little Rose (2017)

September 25 2019/13:10-14:00

Coventry, UK

Emergence: Emily Dickinson (excerpts)

Live at the Ellen Terry Building, Coventry University

Nadine Benjamin soprano

Nicole Panizza piano

Aaron Copland

A selection from 12 Poems of Emily Dickinson (1949-1951)

Sylvia Glickman

Black Cake: A Recipe by Emily Dickinson (1979)

Juliana Hall

A selection from To Meet a Flower (2015)

Luigi Zaninelli

A selection from Seven Epigrams of Emily Dickinson (2003)

Ella Jarman-Pinto

This Little Rose (2017)

Tuesday August 6 – Saturday August 10 2019

Snape Aldeburgh, Suffolk, UK

Artistic Residency – Emergence: Emily Dickinson

Snape Aldeburgh, UK


Nadine Benjamin soprano

Nicole Panizza piano

Lynn Binstock dramaturg/director


Aaron Copland Twelve Poems of Emily Dickinson 

Luigi Zaninelli Seven Epigrams of Emily Dickinson 

Juliana Hall To Meet a Flower, A Northeast Storm, In Reverence 

Sylvia Glickman Black Cake: A Recipe by Emily Dickinson 

Ella Jarman-Pinto This Little Rose

Open Session: Emergence

Past Concerts and Events

Tuesday June 4 2019 / 13:00-14:30 

Lincoln Drill Hall, Lincoln, Lincs., UK

The Lincolnshire International Chamber Music Festival presents

An Afternoon of American and English Art Song

Anna Bolton soprano

Nicole Panizza piano

Madeleine Dring 5 Betjamen Songs

Aaron Copland Old American Songs (selection)

Ivor Gurney 5 Elizabethan Songs

Samuel Barber Hermit Songs (selection)

Benjamin Britten Cabaret Songs (selection)

Roger Quilter Music When Soft Voices Die 

Friday May 10 2019 

Goldsmiths, University of London, UK

Royal Music Association

The Art Song Platform: Traditions and Current Practices

Syllables of Velvet, Sentences of Plush: The Emily Dickinson Song Project

Conference review: The Art Song Platform: Traditions and Current Practices, 10 May 2019, Goldsmiths, University of London

Friday March 29 2019 / 10:30-11:30

Gheorghe Dima National Music Academy, Cluj-Napoca, Romania

The European Platform for Artistic Research in Music (EPARM), in association with the Association Européenne des 
Conservatoires, Académies de Musique et Musikhochschulen, presents:

2019 International Conference of Artistic Research in Music

Reading in the Dark: A Performer’s Encounter with Emily Dickinson and her American Musical Interpreters            

Thursday March 21 2019 / 19:30-22:00

The Kempinski Hotel, Bahia-Marbella, Spain

Project Music and The Kempinski Hotel (Bahia-Marbella, Spain) presents

Teresa Karcher soprano

Nicole Panizza piano

In an evening of classical music, featuring works by De Falla, Debussy, Rachmaninoff, Bizet, Lorca, and Ginastera. 

Wednesday March 13 2019 / 13:00-14:30

The Royal Irish Academy of Music, Dublin, Ireland

The Royal Irish Academy of Music presents

Dr. Nicole Panizza 

Reading in the Dark: A Performer’s Encounter with Emily Dickinson and her American Musical Interpreters





Dr Nicole Panizza (UK) – piano

Ms Nadine Benjamin (UK) – soprano

Dr Lynne Binstock (UK) – dramaturg and director

Ms Jane Sheldon (AUSTRALIA/USA) – soprano

Featured poet/texts: Emily Dickinson

Featured composers: Luigi Zaninelli (1932-), Aaron Copland (1900-1990), Juliana Hall (1958-), Sylvia Glickman (1932-2006), Ella Jarman-Pinto (1989-)

Featured works:

12 Poems of Emily Dickinson (1950-1951) – Aaron Copland

Seven Epigrams of Emily Dickinson (2003) – Luigi Zaninelli

To Meet a Flower (2015) – Juliana Hall

A Northeast Storm (2000) – Juliana Hall

In Reverence (1985) – Juliana Hall

Black Cake (1978) – Sylvia Glickman

This Little Rose (2010) – Ella Jarman-Pinto

Featured publishers and institutions/organisations: Stone Records, BBC, Snape Aldeburgh. The JM Coetzee Centre for Creative Practice, Phosphor Records

This recording project provides an opportunity to sample renowned, and rarely-heard, song settings of the poetry and letters of the American poet Emily Dickinson. Designed to specifically track the evolution of thought and concept within Dickinson’s literary output – from every day, mundane, and repetitive activity (recipes, epigrammatic response, prayer) to a broader sweep of Dickinson-related themes (death, love, nature, eternity, and spirituality), these selected compositions provide critical connections between often compartmentalised approaches to her work, and a valuable survey of literary forms, as translated in song.

The project – devised, curated and performed by Dr Nicole Panizza, also features renowned sopranos Nadine Benjamin and Jane Sheldon. As the central research output, it features two internationally-released albums. Nature (2014, Phosphor Records), recorded in Australia, was nominated for a Carlton Classical Music Award in the same year. Emergence (2019, Stone Records), serves as one of the first examples of an album that showcases both existing and emergent song settings of Dickinson’s literary canon. Artistic residencies at The JM Coetzee Centre for Creative Practice (University of Adelaide, 2014) and Snape Maltings (Snape, 2019) evidence further dissemination of the scope, impact, and reach of this material.

Through practice-led enquiry, performance, and recording this project charters a diverse set of American musical responses to Dickinson’s canon, and offers a chronological account of her literary maturation, thereby creating a unique cultural map of American creative partnership. By combining existing works (Copland, 1951) with premiere compositions (Hall, 1985 and 2009; Zaninelli, 2003; Glickman, 1978, and Jarman-Pinto, 2010), the recordings provide a platform where one can experience Dickinson’s output within an aural setting, affording alternative routes of access to a greater understanding of her work. Further, the programming of song cycles rarely heard outside of the USA champions the profile of American art song performance outside of its immediate domain. As such, it seeks to firmly reinforce the critical importance of this research within the existing corpus of Anglo-American musicological, literary and performance-based studies.

Emergence: Emily Dickinson (album, Stone Records) – international launch – October 2019

Emergence: Emily Dickinson – Live at the Ellen Terry Building, Coventry University – September 25 2019

Emergence: Emily Dickinson – The Snape Aldeburgh Project – August 6-11 2019

Emergence: Emily Dickinson – Live at the Holywell Music Room, University of Oxford – February 5  2019

BBC World Service live broadcast – Emily Dickinson and Aaron Copland: Live at The FT Oxford Literary Festival – March 17 2018 



Dr Nicole Panizza (Coventry University, UK)

Prof. Emily Seelbinder (Queens University of Charlotte, North Carolina, USA)

Prof. Ivy Schweizter (Dartmouth College, USA)

Mr. George Boziwick (Chief, Music Division, New York Public Library, USA)

Ms. Samantha Landau (Showa Womens University, Japan)

Gerard Holmes (University of Maryland, USA)

Ms. Georgiana Strickland (independent scholar, USA)

It is well documented that the American poet Emily Dickinson (1830-1888) possessed a concise, idiosyncratic poetic style. When approaching her literary output from a musical perspective we discover a fertile pool of intimate yet volcanic artistic stratagem that serves as an ideal companion to the media of musical composition and performance. Whilst current Dickinson scholarship offers comprehensive analysis from literary and cultural perspectives, there has been surprisingly little enquiry into the ever-broadening pool of musical settings of her work. As a result of deep and comprehensive study of her poetry and letters (and of the many musical, literary, theatrical, and somatic-based settings inspired by her work), this archive offers a persuasive, interactive, dynamic and innovative platform for the study of cultural agency and human identity – a unique investigation of the power of text and music as a vital agent of (inter)national symbolism, meaning, presence, and progressive regeneration.

Focusing on Emily Dickinson’s biography and literary output, and the many musical and arts-based responses inspired by this canon, this project investigates a variety of contrasting musical examples from archival material collected to date, drawing from bibliographic reference, interviews, analysis, live performance, recordings, programmes, and publications, and in complement to existing digital archives housing Dickinson’s original manuscripts. As a diverse, compelling and accumulative collection of primary resource, this digital platform seeks to highlight, promote and foster understanding and industry of the humanities-at-large, and will feature select material by prominent scholars, performers and composers – all working in this vibrant and expanding area of artistic research. It provides an opportunity to document and observe compositions, performances and critical scholarship inspired by the evolution of Dickinson’s literary style, and serves as a promotional tool to challenge, extend and augment existing approaches to her work, inspiring future dialogue and generation of interdisciplinary approaches to American cultural studies. 

The Emily Dickinson Music Archive – – (under construction – release Spring 2020)

There’s Ransom in a Voice: The Relit Bibliotherapy Summer School, University of Oxford – August 2018 –

White Heat: Emily Dickinson in 1862 – A Weekly Blog (in conjunction with Dartmouth College (USA) – June 2018 –

A Music as Numerous as Space: Emily Dickinson, Landscape, and the Allure of the Performative, EDIS Critical Institute – August 2017

My Wheel is in the Dark: Emily Dickinson, Music, and the Allure of the Performative – SSAWW International Conference, Philadelphia, USA – July 2017

Titanic Operas: The Musical Voice of Emily Dickinson and Elizabeth Barrett Browning, SSAWW International Conference, Philadelphia, USA – November 2015

A Music as Numerous as Space: Emily Dickinson and Music: Influence, Inspiration and Impact, EDIS Critical Institute – August 2015



Dr Nicole Panizza (Coventry University, UK)

Ms Cassandra Manning (independent scholar and performer, UK)

Prof. Daniel Meyer-Dinkgrafe (University of Lincoln, UK)

Featured poet/texts: Emily Dickinson

Featured composers: Aaron Copland (1900-1990), Arthur Farwell (1872-1952), Leon Kirchner (1919-2009), Lee Hoiby (1926-2011), Tom Cipullo (1956-), Juliana Hall (1958-)

Featured publishers and institutions/organisations: Taylor and Francis Publishers (Routledge, UK), Cambridge Scholars Publishing (UK), Universidad di Aveiro (Portugal), Modern Languages Association (MLA, Canada-USA), Hub for Artistic Research in Performance (HARP (RNCM, UK), Consciousness, Theatre, Literature and the Arts (University of Lincoln, UK)

The work of the American poet Emily Dickinson is intrinsically musical. When considering Emily Dickinson’s provocative and instinctive improvisations one cannot fail to appreciate the levels of her critical perception. Indeed, in shaping her prosody Dickinson drew heavily on musical form and rudiment. Her use of specific reference represents a highly self-conscious use of musical device, both as a source of imagery and as a strategy for shaping her terse, condensed poetic line. Music is the ground on which the superstructure of her poetic thought was built, and a condition of being towards which it aspired.

Drawing on critical theories of renowned scholars Cooley (2002), and Buonanduci (2009), Dr Nicole Panizza leads this performance-led applied research project which examines the contrary responses which this insistent musical sensibility elicits from two distinct groups of American art song composers:

  • Composers who embrace the musical imperatives encoded in Dickinson’s verse.
  • Composers who consciously work against the “inherent” musical qualities encoded in Dickinson’s verse.

By observing the diverse representation of compositional techniques employed this project then invites the viewer/reader to navigate a textual and musical somatic map, derived from the performer’s response, that becomes a cohesive vehicle for deconstructing, and then reconstructing, Dickinson’s literary canon.

This portfolio features various models of dissemination and enquiry: a book chapter (Cambridge Scholars Publishing, 2014), and lecture-recitals and presentations (MLA, Canada (2015); PERFORMA’15, Universidad de Aveiro (2015) and HARP, RNCM, UK (2018)). A monograph planned for publication early-2020, will serve to further extend and develop this research, encouraging the reader to move one step closer to a more dramatic realisation of her work. This body of research will ultimately establish, promote, and legitimise new pathways for the way in which we read, hear and perform the work of Emily Dickinson.

Monograph – Taylor & Francis/Routledge (UK) (publication/launch: early 2020)

Book chapter – CLTA International Conference, University of Lincoln, UK, February 2014 (Cambridge Scholars Publishing) (1 folder, 1 publication manuscript)

Lecture-Recital – 1st International Conference on Artistic Research in Performance (HARP) – Royal Northern College of Music, UK, June 2018 (1 folder, 1 document (PP))

Lecture-Recital – PERFORMA’15: International Conference on Music Performance, Universidad de Aveiro, Portugal, June 2015 (1 folder, 1 document (PP))

Conference presentation – 130th MLA International Convention, Vancouver, Canada, January 2015 (2 documents)



Dr Nicole Panizza (Coventry University, UK)

Prof. Suzie Hanna (Norwich University of the Arts, UK)

Dr. Sally Bayley (University of Oxford, UK, independent scholar)

Dr. Hannah Sanders (independent scholar and performer, UK)

Featured poet/texts: Emily Dickinson

Featured publishers and institutions/organisations: University of Oxford (UK), ReLit Bibliotherapy Foundation (UK), FT Oxford Literary Festival (UK), Cité Internationale de Universitairé (France), Emily Dickinson International Society (EDIS, USA)

This interdisciplinary collaborative performance, and an accompanying interpretative workshop, has been developed by Dr Nicole Panizza (Coventry University) Professor Suzie Hanna (Norwich University of the Arts) Dr Sally Bayley (Oxford University) and Dr Hannah Sanders (independent scholar and performer).  

The project is supported by extensive primary research into the poet Emily Dickinson’s own musical world: her folio of solo piano music, balladry, folk music, and patriotic songs as well as a critical investigation of her poetic process – with particular focus on her ‘fragment’ poems, as featured in Susan Werther’s book The Gorgeous Nothings (2015). Notions of ‘feminine’ ballade form, in direct juxtaposition with ‘male’ hymn form (both favoured by Dickinson) are also explored – via the performance and workshop sessions, as key examples of the investigative process. Innovative aspects of this mixed-media performance development include the informed deconstruction and reimagining of the poet’s daily experiences – her domestic rituals interrupting and interrupted by her singing, piano practice and her writing, alongside the creation and performance of animated visuals (VJing), which reference materiality and metaphor in Dickinson’s poetry. The project seeks to expand and develop key areas of interdisciplinary research into Emily Dickinson’s life and work and contributes to broader debates on new forms of literary criticism and engagement.

This project was originally commissioned for the Emily Dickinson International Society Triennial Conference (Paris 2016), at which both the performance and the research/workshop were presented. Other performances, presentations and applied research workshops include invitations by ReLit (University of Oxford 2017), and the Oxford Literary Festival (Lincoln College, Oxford 2018).

A journal article is currently in development for publication in 2019. This frames our original collaborative process as research – investigating and communicating new ways to contextualise evident themes of disruption, interruption, fragment, tactility, materiality and gesture in Dickinson’s prose and poetry.


In Other Motes, of Other Myths: The Emily Dickinson Performance Project – ET101, Coventry University, May 2018 

Butterflies off Banks of Noon: The FT Oxford Literary Festival, Lincoln College, University of Oxford – March 2018

In Other Motes, of Other Myths: The Emily Dickinson Performance Project, The ReLit Bibliotherapy Summer School, Worcester College, University of Oxford – August 2017

In Other Motes, of Other Myths: The Emily Dickinson Performance Project, EDIS Triennial Conference, Cité Internationale de Universitairé, Paris, France – June 2016



Ms Katrina Emtage – flute

Ms Ilse de Ziah – cello

Ms Liz Kelvin – clarinet

Dr Nicole Panizza – piano

“Being far from home has been a source of reflection for many artists over the centuries. As Australians, returning to the Old World, we relish the opportunity of bringing works that we grew up with to new audiences, whilst also sharing critical aspects of our cultural heritage and outlook.” Internationally acclaimed, Ozmosis consists of Australian musicians living and working in Europe. Founded in Cork, Ireland in 2005 by Nicole Panizza, Katrina Emtage and Ilse de Ziah, Ozmosis are committed to exploring and promoting the best of new and existing contemporary chamber music that Australia has to offer. 

This research project highlights composers indigenous to Australia. It seeks to create a record of new or rarely heard works and to establish a new model of chamber music programming and performance by showcasing works that highlight national ‘identity’ and specific artistic qualities pertinent to Australian cultural form. By exposing little-known musical works, and then transporting them into a “European” context, this recital program seeks to discover new ways for this unique cultural voice to engage in ‘dialogue’ with others, with the intention of creating a model for contemplating and constructing national identity. This dialogue is expressed through the partnerships of sound, text and performance. Performed by Lis Kelvin (clarinet), Ilse de Ziah (cello) and Nicole Panizza (piano) the programme features both existing and premiere performances: 

The Big Dry – (clarinet, cello, piano), Kelvin (2009) 
Threnody – (solo cello), Sculthorpe (1991-2) 
Chiaroscuro I – (piano), Sutherland (1967) 
Sobben – Nepitanc – (clarinet, cello, piano), Kelvin (2000) 
feed it all it needs 1-4 – (clarinet), Plankenthorn (2009) 
Snow, Moon and Flowers – (piano), Sculthorpe (1972) 
Spur the Snakes! – (clarinet/cello), Free improvisation 
Lahara’s Stream – (cello/piano), Howlett (2010) 
Sonus Dulcis – (clarinet, cello, piano), Pertout (2000) 

OzMosis’ objective is to bring an innovative musical language to new audiences whilst honouring elements of our cultural heritage and outlook; via the commissioning of new works, and exploring repertoire that has been freshly created.



Mr Chis Eaglin – tenor

Dr Nicole Panizza – piano

Ms Esther Ward-Caddle and Ms Marji Gere – cellos

Mr Jeremy Sampson and Mr Benjamin Swartz – violins


The Holy Sonnets of John Donne (2014) – Juliana Hall

Chanting to Paradise (excerpts) (1997) – Libby Larsen

Four Walt Whitman Songs (1942-47) – Kurt Weill

Nightsongs (excerpts) (2010) – H. Leslie Adams

Aftermath (2002) – Ned Rorem

The US and the UK share an intimate history of intersections with conflict, war and battle. Conversely, their histories also reflect a social and cultural commemoration through word, music and deed: gestures that remain undeniably present in response to current global challenge and conflict. 

This practice-led song project, led by practitioners and historians from both the UK and USA, aims to capture and reflect the ways in which music and text can play a significant role in embodying the profoundly destructive, yet ultimately human reaction to these conflicts, providing a creative space for reflection and contemplation. Via the performance platform, it seeks to address the vital role of text and music symbiosis within an educational context, and serves as a platform for agency within the medium of trans-literary, interdisciplinary scholarship with the humanities. 

Examples from five American composers, across five song cycles, reflect the breadth, scope and vision of various human responses to grief, loss, commemoration, and, ultimately, hope and redemption. The recital features a selection from Juliana Hall’s The Holy Sonnets of John Donne (showcasing texts that reflect religious themes of mortality, divine judgment and love, and humble penance); two songs from Libby Larsen’s Chanting to Paradise (featuring texts by Emily Dickinson). Songs by Kurt Weill (set to texts by Walt Whitman), and H.L Adams, further highlight aspects of solitude, intimacy, heroism and poignant testimony. The project concludes with Ned Rorem’s Aftermath, a song cycle commissioned by the 2002 Ravinia Festival – in response to the atrocities of 9/11 in 2001. 

Key performances include recitals at Memorial Church (Harvard University, USA), Holywell Music Room (University of Oxford, UK) and Coventry University (UK). The diverse range of musical content, venue, and audience intends to elicit and encourage a deeper level of awareness of the role that conflict has played in our lives, by exploring the healing power of music and text. It is this very knowledge that can shape and define new levels of commemoration of, and relationship to, global turmoil. 



Ms Allegra Giagu – mezzo-soprano

Ms Hannah Sanders – soprano

Dr Nicole Panizza – piano


Mr Tambourine Man: Seven Songs of Bob Dylan (2000) – John Corigliano

Prelude: Mr Tambourine Man

Clothes Line

Blowin’ in the Wind

Masters of War

All Along the Watchtower

Chimes of Freedom

Postlude: Forever Young


Holywell Music Room, University of Oxford, June 30 2016


Performing Knowledge conference, University of Cambridge, April 2016

As an undisputed voice of America’s whimsical dream, Bob Dylan (1941-) remains an enduring symbol of contemporary American cultural agency. Whilst there has been much discussion and debate relating to Dylan’s life and music there has been surprisingly little study done into the emergent pool of song settings and performances of his poems. Yet composers and performers continue to be increasingly seduced by the ambiguity and abstraction of Dylan’s lyric style.   

Referencing musical settings of his written work (now regarded as seminal fodder within the contemporary American folk/popular song canon), this project centres on the performer’s role in bringing Dylan’s lyrics to life via an alternative musical idiom: the contemporary American art song. The programme creates a rare opportunity to explore the interaction between ‘players’ in Dylan’s drama of self, the ways in which they are reflected and expressed in literary terms, and how both composer and performer are inspired to then interpret his work through their own artistic filters. Investigating the variety of compositional techniques used, it is possible to devise a map, derived from the composer’s responses, that gives birth to a compelling and cohesive vehicle for a performer engaging with Dylan’s texts. Points of entry include repetition, the use of space and silence, rhythmic device, word painting and setting, syllabic placement, use of accent and stress, inventive use of structure, harmonic and melodic device, and performance. By documenting the performer’s creative journey in bringing these musical narratives to life, it is our wish that this research will serve to inspire, and establish, a new forum for the way in which we read, hear and perform the work of Bob Dylan. 



Jane Sheldon (soprano)


Emergence: Emily Dickinson

Nadine Benjamin (soprano)

By Consultation

With 25 years experience in performance, education, creative design and management, I have the expertise to help design your next project!

Key services include education projects (particularly higher education/tertiary curricula design and curation), guest speaking, bespoke lectures, keynotes and seminars, creative collaboration and management, and project design.

For rates and availability:


To get in touch with Nicole Panizza

Fill out the form below:

Photography by

Pawal Nowak