About: 

Lidiia Krier completed her studies in musicology at the Moscow Conservatory in 2018 and successfully completed her master's degree in music and performance at the University of Bayreuth in 2024. In her master's thesis (supervised by Prof. Dr. Kordula Knaus and Prof. Dr. Anno Mungen), she examined the self-positioning strategies of Russian opera composer Valentina Serova (1847–1924) in the context of gender-specific role perceptions in Russia in the second half of the 19th century.

As part of her doctoral studies, Lidiia Krier is researching Nazi orchestras in the occupied Polish territories during the Second World War, with a focus on Poznań in the Reichsgau Wartheland and Kraków in the General Government (supervised by Prof. Dr. Krzysztof Kozłowski, UAM Poznań, and Prof. Dr. Anno Mungen, University of Bayreuth).

During her master's studies, she worked at various cultural institutions, including the International Gluck Festival as an executive assistant and member of the artistic operations office. She also volunteers on the board of Almaviva e.V. – Musiktheater Netzwerk Uni Bayreuth, an association that connects graduates and students of music and theater studies.

She is currently working as a research assistant at the Research Institute for Music Theater (fimt) at the University of Bayreuth.

Publications: 

• „Liveness einer Maschine? Überlegungen zum Digitalen Musiktheater während der COVID-19-Pandemie“. In: Act – Zeitschrift für Musik & Performance, Bd. 13, Nr. 1: Oper und Co. für die Zukunft!? Musiktheater zwischen Institution, Digitalität und künstlerischer Forschung, hg. von Marie-Anne Kohl und Silvia Bier, 2026.
• „Schade, dass Sie kein Junge sind“. Strategien der (Selbst-)Positionierung von Walentina Serowa (1846–1924) als Pianistin und Opernkomponistin in der zweiten Hälfte des 19. Jahrhunderts in Russland. Bayreuth, 2025. Masterarbeit, Universität Bayreuth, Sprach- und Literaturwissenschaftliche Fakultät, 2024. DOI: 10.15495/EPub_UBT_00008534.