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Sean Cooper, D.M.A., attended Carnegie-Mellon University, the Manhattan School of Music, and completed his Doctor of Musical Arts degree with a minor concentration in musicology at the University of Memphis. He quickly established himself as an authority in Mozart scholarship regarding late 18th-century recitativo semplice. His dissertation entitled The Virtue of Recitatvo Semplice in the Operas of Wolfgang Amadeus Mozart was the winner of the National Opera Association’s Biennial Dissertation Competition. Subsequently, an article contrasting the Mozart and Gazzaniga treatments of Don Giovanni was published in The Opera Journal. 


Dr. Cooper has presented for the Toledo Opera Lecture Series, at the National Conference of the College Music Society, and for the Mozart Society of America’s Annual Meeting at the American Musicological Society’s National Conference. He has also served on the review boards for the North American Opera Journal and the National Opera Association’s Scholarly Research Committee. Sean is a guest lecturer for the Metropolitan Opera Guild.


As a performer, he has appeared on Broadway and with several regional symphonies and opera houses. Mozart roles include Figaro, Leporello, Don Alfonso, Sarastro, and Der Sprecher.


Poetic translations that capture the essence of the text yet allow audience members to rest their eyes where they belong: the stage.  If you would like to collaborate with Sean Cooper, inquire below


“Sempre libera degg'io

 Folleggiare di gioia di gioia

 V o' che scorra il viver mio

 Pei sentieri del placer.”

“I will always be free

 Free to jump

 From joy to joy

 Free to walk 

 Along the path of  Pleasure.



“In this seduction trio, social boundaries are blurred, as are the musical languages of the inherent seria, mezzo caratterre, and buffa characters, respectively. This technique is most appropriate, as sex is trans- social, the great equalizer in Mozart’s Don Giovanni.”

Sean Cooper, ““Whoʼs Dead? You or the Old Man?” Textual Congruence and the Structural Planning in the Mozart and Gazzaniga Treatments of Don Giovanni”, The Opera Journal, Vol. XLIV, No. 3 & 4, (September and December, 2011), p. 15



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