Guildhall School News Autumn/Winter 2013

news Guildhall School

Autumn/Winter 2013

We’re in!

The School’s new state-of-the-art Milton Court

p13 No. 1 in the Guardian

league tables – again!

p14 Tributes to Sir Colin Davis p18 Guildhall young artists Discover Dudamel

First productions in the new Milton Court theatres

First event in the new Milton Court Concert Hall

Forthcoming Events Guildhall Symphony Orchestra & Chorus

L’enfant prodigue Debussy Francesca di Foix Donizetti

Friday 4 October • 7.30pm

4, 6, 8, 11 November • 7pm

James Gaffigan conductor Julian Philips Come forth to play Elgar Cockaigne Overture Beethoven Symphony No 9

Dominic Wheeler conductor Stephen Barlow director Yannis Thavoris designer David Howe lighting designer

MILTON COURT CONCERT HALL

Silk Street THEATRE

The Seagull the

seagull

BY AnTON CHeKHOV in a version by Peter Gill

The Three

Sisters

Friday 29 November • 7.30pm

by Anton Chekhov, in a version by Peter Gill

Takuo Yuasa conductor

17, 18, 19, 21, 23, 24 October • 7.30pm 18, 22, 24 October • 2pm

Schoenberg Pelleas und Melisande Strauss Ein Heldenleben

Milton Court Studio THEATRE

BARBICAN HALL

The Three Sisters

Marathon ’33 by June Havoc

by Anton Chekhov, adapted by David Mamet

29, 30 November, 2, 3, 4 December • 7.30pm

19, 21, 22, 23, 24, 25, 26 October • 7.30pm 21, 24 October • 2pm

2, 4 December • 2pm

Milton Court THEATRE

Silk street THEATRE

Rachel Grunwald director

Alumni Recital Series

Faculty Artist Series

The Guildhall School welcomes back some of its most highly-acclaimed alumni to perform in the new Milton Court Concert Hall during its inaugural season.

The School’s series of exclusive performances by senior professors and their colleagues gives public, staff and students the opportunity to see some of the country’s finest musicians perform in the stunning new Milton Court Concert Hall.

Tuesday 5 November 2013 • 7.30pm

Thomas Adès & Friends Thomas Adès piano Anthony Marwood violin Matthew Hunt clarinet Louise Hopkins cello Saturday 23 November 2013 • 7.30pm

Anne Sofie von Otter & Friends Anne Sofie von Otter mezzo-soprano Bengt Forsberg piano Bengan Janson accordion Milton Court Concert hall

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Guildhall Symphony Orchestra

Thursday 7 November • 7.30pm

Graham Johnson & Friends Graham Johnson piano, Senior Professor in Vocal Accompaniment Dame Felicity Lott soprano Adrian Thompson tenor, Professor of Vocal Studies Stephen Varcoe baritone

Thursday 5 December • 7.30pm

Rolf Hind Rolf Hind piano, Professor of Piano

Milton Court concert hall

For further information about all Guildhall School events, please go to www.gsmd.ac.uk/events GUILDHALL SCHOOL NEWS • AUTUMN / WINTER 2013

Contents

Editorial

FEATURES

NEWS

4 Milton Court

15 Technical Theatre Arts

Welcome to the Autumn/Winter 2013 edition of Guildhall School News

17 New Partnerships

This is rather a special edition, celebrating a giant leap forward for the School as we expand into our new building at Milton Court this September. We knew that the performance spaces would be state-of-the-art and that the facilities for students and staff would be good, but we did not know that they would be this good!

Jonathan Vaughan, Director of Music, and Wyn Jones, Director of Acting, can hardly contain their excitement as they write about the Concert Hall, Theatres and Drama facilities. The enthusiasm for this new step in the School’s journey towards world domination [sorry, got a bit carried away] does not stop with our staff, or even our students, who can’t wait to get in there…

Graduate Exhibition First public showcase of individual students’ work

What a difference 20 years makes!

13 Top of the leagues Guildhall tops Guardian league tables for second consecutive year

The Royal Opera House and Academy of Ancient Music join forces with the Guildhall School

14 Sir Colin Davis Tribute Concerts

20 Success Stories

16 Grimes on the Beach

A selection of recent Student and Staff successes

Guildhall singers perform in landmark outdoor production at Aldeburgh Festival

29 In Memoriam ALUMNI COMMUNITY PAGES

25 Alumni News Damian Lewis receives Freedom of the City and Benjamin Luxon returns to the School

26 Class Notes Written by and for alumni

28 Alumni Events Diary Recent and coming up

It has been a real pleasure to see how excited you, our alumni, supporters and friends have become about this development and the impact it will have on the School and our students. Nearly 250 seats have been named in the Concert Hall and Theatre and, judging by the number of people who have made enquiries, we are expecting record audiences for the opening productions in them this term – so book your ticket and Take Your Seat as soon as you can to avoid missing out!

We are proud to report that The Guardian have rated us No. 1 specialist higher education institution and No. 1 for music teaching in the UK in their league tables – for the second consecutive year! We have entered into exciting new partnerships with the Royal Opera House and the Academy of Ancient Music, Junior Guildhall has expanded its offer to include a new Jazz course and we have a new Mindfulness for Performers short course, all of which commence this coming autumn. Also from September, students will no longer have to queue at Front Desk to play practice room roulette; instead, thanks to Asimut, they will be able to book practice rooms online or on their smartphones.

So much has happened in the last six months that we can only report selected highlights here. For more Guildhall School news please visit our website www.gsmd.ac.uk.

Editorial Group Rachel Dyson (Editor), Alumni Relations Manager Jo Hutchinson, Head of Marketing & Communications

I hope you enjoy reading the magazine and if you have an item that you would like us to consider for a future edition, please email your submission with any accompanying images to editorial@gsmd.ac.uk.

With best wishes,

Duncan Barker, Head of Development Rosanna Chianta, Marketing & Communications Officer Richard Grosse, Full Cycle Contact: editorial@gsmd.ac.uk The Guildhall School of Music & Drama is provided by the City of London Corporation

Rachel Dyson Editor (Please note, we cannot guarantee to include everything that we receive and we reserve the right to edit submissions.)

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Milton Court

Milton Court:

a 20-year project finally completed It’s a good 20 years since the idea was first mooted of an extension for the Guildhall School on the Milton Court site. Years of planning, discussion and refinement – architects’ models, planning permission meetings, roadshows with Barbican residents, meetings to plan the operation of the building, endless budgeting – have gone by. Twenty years later, thanks to a large number of dedicated, hard-working people, the Guildhall School can finally boast a stunning and remarkable new building to its name.

Situated across the road from the existing Silk Street building, Milton Court houses three

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world-class performance venues and some of the highest-spec equipment and training facilities in the business. Not only that, but also vastly improved teaching and office spaces, and attractive foyers for our audiences, all of which the School has been sorely lacking for some time.

It is with huge delight that I look forward to the official opening of the building in September, and I encourage all of our alumni and supporters to book in for an event in the autumn season to see the results of this major project for themselves.

Please let us know what you think!

Professor Barry Ife Principal

What difference will it make?

Milton Court is based across the road from the current Silk Street building and will officially open in September, providing the School with state-of-the-art performance and teaching spaces in addition to those in the existing building, which will continue to be used. Highlights of Milton Court’s facilities include: • • • • •

a 608-seat Concert Hall a 227-seat Theatre a Studio Theatre three major rehearsal rooms three large teaching rooms including a TV studio suite

Students, staff and public visitors to the School will all experience the additional benefits provided by Milton Court: Instrumentalists and singers will rehearse and perform in solo recitals, chamber ensembles and orchestras in the new Concert Hall, with top quality fully-adjustable acoustics and the largest audience capacity of any of the London conservatoire concert halls.

Actors will rehearse and perform in a traditional proscenium arch, multi-level Theatre and an intimate, adaptable Studio Theatre, both with high-quality dressing room facilities. These spaces complement the existing Silk Street Theatre which will continue to be used by actors and opera singers. Actors will also train for film and television work in the dedicated TV studio suite and use rehearsal rooms with sprung floors, moveable screens and lighting and sound facilities.

Public audiences will experience world-class performances in world-class venues, and meet, eat and drink in bright, open, well-furnished public foyers on two levels with floor-to-ceiling windows looking out on to Silk Street.

There are also other teaching, meeting and administrative spaces, complementing and extending those currently in use in the Silk Street building.

What’s on?

The inaugural performance season in Milton Court includes recitals by alumni Thomas Adès and Anne Sofie von Otter, faculty members Graham Johnson, Adrian Thompson and Rolf Hind, two Chekhov plays to open the new Theatres, jazz performances with the Dankworth family and Geoff Gascoyne, an exciting new piece of music theatre by Iain Burnside, and a concert by the Guildhall Symphony Orchestra and Chorus with recent alumni as soloists, conducted by James Gaffigan. See page 2 for further details or visit www.gsmd.ac.uk/events for complete listings and ticket information.

Milton Court Concert Hall will also host a year-round programme of classical and contemporary music presented by the Barbican and its artistic partners. Visit the Barbican website to learn more: www.barbican.org.uk

Theatre technicians will use the latest stage technologies, including fully-automated power flying in the Theatre and state-of-the-art lighting, sound and audio-visual facilities, as well as a tension wire grid in the Studio Theatre. They will also have production offices, seminar rooms and a dedicated computer-aided design training room.

Opera singers will use the Theatre for smaller opera performances, the TV studio suite for video requirements, and the rehearsal rooms with sprung floors, moveable screens and lighting and sound facilities.

Children from inner-London boroughs will work with Creative Learning, the School’s joint outreach programme with the Barbican, in the Concert Hall.

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News Court Milton

A Game-Changing Concert Hall The 16th of May, 2013 is a day which will live long in my memory. It was a day I’d been anticipating with a mixture of excitement and trepidation. After 10 years of planning and numerous tours to show artists and supporters around the building we were going to “hear” the new Concert Hall for the first time.

What I already knew to be true was that we had a beautiful building. Over the months of construction, as wooden panels and slate floors transformed ugly concrete hulks into spaces full of light, elegance and vibrancy, it became clear that the architects had done their work to the most exacting standards; but what of the acousticians?

When I arrived that morning, Philip Wright and Ian Knowles, the two main acousticians, were already present and looked slightly peaky. Clive Russell, our Director of Strategic Projects, had the look of someone who had been mentally wringing

his hands since dawn. And I had that unsettling feeling I used to get just before an exam when I knew that five hours bass practice was all very well but it hadn’t really done justice to my A level Physics revision!

Ronan O’Hora was up first and was by far the coolest of all of us as he took his place at the piano. As he began and the opening bars of Schubert’s final sonata unfolded it became apparent in seconds that the acoustic was exceptional. There was instantly a beautiful warm bloom and deep resonance to the sound but with no hint of “bathroom” echo. The sound had an absolute clarity and transparency which spanned the whole dynamic range and spectrum of pitch and colour.

Louise Hopkins and Levon Chilingirian who played next both reported that sound production was effortless and that they could simply relax into the quality of the hall.

“I had the great privilege to perform in the [acoustic test] in Milton Court and I was just thrilled by the space, by the acoustic and by the opportunity you get to communicate with the audience. I’m looking forward to lots more concerts there. It’s a wonderful stage.”

Martin Häßler, studying on the Opera Course from September 2013

“I’m really excited about getting in there and playing.

I saw the [acoustic test] with Martin singing and it sounded absolutely fantastic. It’s a great space and it oozes quality.”

James Harold, BMus Trombone

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We all grinned at each other like idiots for the next two hours.

In the weeks that have followed our initial thoughts have been confirmed. I recently showed Sir Clive Gillinson, of Carnegie Hall, around and he described the building as a “game-changer” for both the School and for London. Tom Adès on hearing the Beethoven 9 acoustic test compared the acoustic favourably with the Musikverein – for my money one of the very finest sounding halls in the world.

If I were Jeremy Clarkson, which I thank God daily that I am not, I would make the motoring analogy that as I arrived that May morning I expected to be taking possession of a Porsche only to find that Messrs Wright and Knowles were offering me a Ferrari.

All credit must be given to our Principal, Prof Barry Ife, for bringing Milton Court into being; to this day I don’t think he realises the immensity of what he has achieved here or the scale of its impact on both the School and the musical world.

As the hall emptied that day I stood on the platform and the hairs on my neck stood up as I reflected upon all the great artists who will appear on this stage in the decades to come, of their great performances, of future audiences’ adulation and yes, perhaps even reviewers in rapture: Bring it on! v Jonathan Vaughan Director of Music

“For me the most pleasing thing is that the Concert Hall sounds just like I wanted it to sound: clear and detailed but full-bodied, rich and responsive at the same time.”

Philip Wright, Arup Acousticians

“The superb new Concert Hall in Milton Court will have a transformational impact on the School itself…providing a world-class platform for the students, but also for the world’s finest artists from whom the students will benefit immeasurably.

Very few music schools benefit from world-class performance spaces in this way, and I am sure the impact of the Hall will help to redefine the future of the School in more ways than even now you can optimistically imagine.”

Sir Clive Gillinson CBE, Executive and Artistic Director of Carnegie Hall

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A Room of Our Own So! We’re on the cusp of unveiling our magnificent new building to the public...

Even had we not been through a time of financial gloom and recession, this would still be an amazing achievement – a stunning Concert Hall, two glorious new Theatres, plus offices, classrooms, a TV studio, wardrobe and three spacious rehearsal rooms of the highest quality – this after years of planning and a huge amount of work from many, many people in different departments, led, inspiringly as usual, by Barry Ife. As all the staff began to move in and settle into our new home, the sense of teamwork and pride in our School was even more palpable than usual. It’s a public statement of the worth of the School (our own confidence and other people’s faith in us). We will be the envy of other schools.

The airiness and use of space in the building is awesome (the expanse of glass is like a lungful of air) and the attention to the finish is lovingly and meticulously detailed (just look at the auditorium handrails and wood, the handles on the auditorium doors and the grey slate).

The acoustics are a dream. In their own field, Simon Smith and Barry Pritchard, the architects, have truly put into practice what we try and teach in ours: the fusion of form and content, style and function.

The rehearsal rooms will stimulate and enable freedom of imagination and body. (It’s impossible to overestimate the importance of space, height and width in a creative space – look at especially Rehearsal Room 3 with its majestic windows and balconies.)

The Studio Theatre is a beautifully friendly and versatile space – a perfectly-proportioned gem, yet state-of-theart high-tech, a perfect laboratory.

The little lyric Theatre is a jewel, with its rich dark wood, the bronze echoes of the Barbican and spacious leg-room. Despite the massive scale of its automated fly-tower, this proscenium theatre is a model of intimacy: when you sit in the Stalls you feel the curves of the auditorium embrace you; when you sit in the Circle you feel you can almost touch the actors; when you stand onstage you feel you can hold the entire house in your arms. Even now, empty, you can sense a cockpit and anticipate the sensation of a full house

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leaning forward with necks craned. It makes you want to use that seldom-used word, “playhouse”. It’s thoroughly modern, yet reminiscent of the glories of Georgian intimacy (the Theatre Royal, Bury St Edmunds, for one) and a miniature version of the triumphs of Matcham, the greatest Victorian theatre architect, who’s never been surpassed in his understanding of what makes a theatre ‘work’ – the relationship between actor and audience.

But it’s so clear that nothing overwhelms what is and always has been at the heart of all the training – the student actors, musicians and technicians. The stages and classrooms now cry out for students to fill them, and I for one cannot wait to see the general public populate the auditoria and foyers.

However the real secret triumph is the fact that we have that rare and paradoxical thing, a training theatre.

The actors in their first two (non-public) years will be able to gain invaluable experience of working in much larger spaces. Hitherto, all students have worked only in small classrooms and our dear old 147, a cramped rehearsal room either freezing cold or overheated, a quarter of the size of the Silk Street stage, incapable of providing sufficient space to mark out the acting area, let alone accommodate anyone watching, such as the director or stage manager. Their occasional forays on to the stages of the Old Vic, the Olivier and the Globe have been sneaky affairs, usually the result of a favour owed or admiration of the training. But these infrequent experiences have been invaluable because they have given the students confirmation of what can only be taken on trust in a classroom – the huge physical and technical demands of combining size with truth, and the importance of the stagecraft required in communicating this to an audience in a proscenium theatre, making the Upper Circle, the boxes and front row of the Stalls all of equal importance, an egalitarian democracy. Now at last we have ‘a room of our own’.

Here’s to every single person who’s contributed! Here’s to the next chapter! v Wyn Jones Director of Acting

“Going into a fast-paced industry, it’s important for us to be as versatile as possible. Milton Court will give us experience in three very different types of venue, and also more scope to experiment in lighting and sound.”

Max Narula, Technical Theatre Arts student

“I’m most excited about the automation in the new Theatre.

Almost all West End shows use automation now, and yet most drama schools don’t have it. Our skills will mean we stand out from other graduates in a competitive industry.”

Zak McClelland, Technical Theatre Arts student

“Guildhall offers unique training, carefully crafted by a fantastic team of teachers. It is now going to have the facilities that it truly deserves, to enhance the training to something even more remarkable.”

Lois Meleri-Jones, Acting graduate

“Milton Court is incredible: it’s big, bold, and brilliant... the performance spaces feel both familiar and highly professional, and the teaching and rehearsal rooms are beautifully spacious and lit. I can’t wait to watch the first performances.”

Stefan Adegbola, Acting graduate

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Milton Court

FEELINGS a new artwork for Milton Court

In addition to its world-class performance venues and teaching spaces, Milton Court also features a brand new artwork, created by Turner Prize-winning artist Martin Creed. FEELINGS was commissioned by the School especially for the Milton Court foyers and was developed in collaboration with the Barbican Art Gallery.

Work No. 1637: FEELINGS is a green neon sign that reads ‘feelings’, as its title suggests. The work rotates while also slowly rising up and down. Audiences attending the School’s public events and Barbican concerts taking place in Milton Court can experience the work at close hand in the public foyers. It is also visible at Silk Street, Milton Street and Barbican highwalk, and was revealed at a launch event in July.

Professor Barry Ife, Principal of the School, says: “We are thrilled to have a piece by Martin Creed in Milton Court.

The glass foyers of our new building will act as our ‘shop window’ and we hope that FEELINGS will bring more people into contact with the exciting work of the Guildhall School.”

The Guildhall School invited Barbican Art Gallery’s Senior Curator, Jane Alison, to develop the commission for Milton Court in conjunction with freelance curator Kathryn Standing. Jane Alison describes Martin Creed as “an extraordinarily accomplished British artist. His work appropriately straddles both music and performance and

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his neon light pieces have a timeless quality, frequently imbued with a wry humour; all of which we felt would be appreciated by students, visitors and passers-by. I am delighted to have played a part in bringing this important work of art to the Guildhall School.”

Martin Creed is a British artist and musician best known as the 2001 recipient of the Turner Prize for his Work No. 227: the lights going on and off, installed at the Tate Gallery. In 2009 he wrote and choreographed Work No. 1020, a live performance of his own music, ballet, words and film, originally produced by Sadler’s Wells, London and performed in the Lilian Baylis Studio. In 2010 Work No. 1020 was performed at the Traverse Theatre, Edinburgh as part of the Fringe Festival. In summer 2012 Creed produced Work No. 1197: All the bells in the country rung as quickly and as loudly as possible for three minutes, a commission to herald the start of the London Olympic Games at 8.12am on 27 July 2012.

TakeYour Seat

Parents club together to Take A Seat for the Class of 2013 A group of proud parents have joined together to name a seat in the Milton Court Theatre for the ‘Acting Graduates Class of 2013’. Janie Mack, whose son James is in the Acting Class of 2013, explains why…

I thought it would be really great to leave a permanent reminder of our ‘children’ at the School. They have had the most wonderful training, for which we are incredibly grateful.

I thought I would see if other parents felt the same debt of gratitude to the Guildhall School as we did, and if we could raise enough between us for a seat for our class to be remembered in the new theatre space in Milton Court.

It also appealed because they are the last group to be exclusively trained in Silk Street, but were at the School during the final stages of Milton Court being erected.

A seat in their name would ensure that they would be remembered by those using the building in years to come.

Everyone was extremely supportive and very glad to contribute. It has also allowed us as a parent group to grow closer and we are putting things in place to ensure that we continue to stay in contact!

We are all really pleased that we have been able to give something back to the School, that has given our talented actors so much. We know that the Class of 2013 have made life-long friends, had unforgettable experiences, have had a world-class training by outstanding tutors, working with amazing directors, designers and choreographers. Our gift is very small when compared with all that they have received, but it was given with the deepest gratitude to the Guildhall School of Music & Drama. I hope that other groups of parents are inspired to follow our lead and raise money for a seat on behalf of their musicians, technicians or actors. Our group of parents have had great fun getting to know each other better and sharing our mutual pride in our actors’ achievements.

Further information: www.gsmd.ac.uk/takeyourseat or contact Jennifer Slater in the Development Office: jennifer.slater@gsmd.ac.uk / 020 7382 7179

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Milton Court

Milton Court Campaign Update The amount raised through the Campaign for Milton Court has now reached double figures and we are delighted to report that over £10.1 million has been secured for the Guildhall School’s new facilities. We are incredibly grateful to all of the donors who have supported the Campaign so far and to all of the Board Members that have contributed their time, expertise and support to our fundraising efforts. We now have just £3.4 million left to raise in order to complete the Campaign.

Since the last update we have received a significant donation from ICAP. The School, along with ICAP’s other chosen charities this year, will be involved in the annual ICAP Charity Day on 3 December with the potential to raise even more money for the Campaign. Over 50 livery companies have contributed to the City Livery Companies Bar within Milton Court, meaning that half of the existing companies have supported the School in developing its new facilities. We have also been busy liaising with other Major and Principal donors over how we will be acknowledging their generous support in Milton Court so that this is in place for the opening of the building in September.

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The response to the Take Your Seat appeal since last September has been incredibly generous and almost 250 seats have been named in the Milton Court Theatre and Concert Hall, raising £290,000 for the overall Campaign.

As we have received confirmation of the text that people have chosen for their seat plaques, we have heard some wonderful stories about donors’ connections with the School. Some people have named seats for their families, others for their teachers at Guildhall, and others for those who have inspired them in their love of music and the theatre. A small number of seats have been named by syndicates of donors, most notably the parents, families and friends of this

year’s class of third-year actors whose plaque will read ‘Acting Graduates Class of 2013’ (see page 11).

With the opening of the new building in the next month, we have also been planning a series of events for the autumn to introduce Milton Court to various groups and to thank them for their support, including donors to the main Campaign, the City Livery Companies Bar and the Take Your Seat appeals. We hope that everyone will be as excited by and impressed with the new venues and spaces as the donors who have already been on site have been. v Duncan Barker Head of Development

News

Guildhall School tops Guardian league tables for second consecutive year School also rated top in music league table For the second year running, the Guildhall School has been rated top of the specialist institutions league table in The Guardian’s University Guide.

The School has achieved a perfect 100 ‘average teaching score’ according to The Guardian’s rating formula, putting it at the top of the 2014 league table above all other UK conservatoires.

In the subject league tables, the School comes highest in music – again for the second year in a row – with a Guardian rating of 100, and places third in drama (combined with dance in the tables), with a score of 90.4.

The Guardian’s University Guide 2014 assesses all UK universities based on what students are looking for. The score, out of 100, is an exclusive rating of excellence based on a combination of all factors, including course satisfaction, teaching quality, feedback, staff-student ratio, spend and career prospects.

Al Pacino speaks to

Guildhall actors about his career

Oscar-winning movie star Al Pacino wowed Guildhall School actors when he popped in for a Q&A session.

The Godfather actor was in London for a one-off evening at the London Palladium on Sunday 2 June, in which he spoke about his life and career in front of a packed house.

Unbeknownst to them, Pacino had already given a more intimate audience of 75 Guildhall actors the chance to probe him about his vast experience on stage and screen. Answering questions about his career, the acting profession and how he prepares for a role, Pacino was a hugely inspiring guest to our actors, who are about to embark on their careers.

Tom Chapman (MA Acting), commented: “The room was electric. He was an absolute artist in everything he said and did. It was utterly inspiring. I still don’t know how to tell people about the experience, other than that it fired us all up to go out and make work at every opportunity. His passion was infectious and it was exciting to hear how his work ethic matches the Guildhall ethos. It was a humbling experience to meet a legend of the acting world.”

Photo Fellow student caption :A (Direct or of D l Pacino with Robbie rama) and Ac Christian Bu rgess ting stu Carpenter (BA dents Acting) added: “I’ve often been told it’s dangerous to meet your heroes because you may be disappointed. Al Pacino didn’t disappoint; he was charismatic and captivating, and in his presence one can’t help but be inspired.“

A member of Hollywood royalty, 73-year-old Pacino has appeared in some of the most iconic movies of the past half century, including The Godfather trilogy, Dog Day Afternoon, Serpico, Scent of a Woman – for which he won an Oscar – Donnie Brasco, Frankie and Johnny, Scarface and Carlito’s Way. An accomplished stage actor, his Broadway appearances have included Glengarry Glen Ross, The Merchant of Venice, Hughie, American Buffalo and Salome.

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News

Guildhall musicians join LSO in tribute concert for Sir Colin Davis

Sir Colin Davis 1927-2013

Guildhall musicians took part in two tribute concerts to Sir Colin Davis staged by the London Symphony Orchestra in June.

Sir Colin Davis, who died on 14 April, was the President of the LSO and a mentor to many Guildhall School students. He was due to conduct the final concerts of the LSO 2012/13 season, so with this in mind the orchestra decided to dedicate these concerts to him.

Patrick Harrild conducted musicians from the Guildhall School and the Royal Academy of Music in Strauss’ Festmusik der Stadt Wien.

The concert also featured Berlioz conducted by Sir Colin’s son Joseph Wolfe, and Mozart’s Violin Concerto No. 3, one of Sir Colin’s favourites.

Following the passing of Sir Colin Davis, the School issued the following statement:

“Everyone at the Guildhall School is deeply saddened to hear of the death of Sir Colin Davis. Sir Colin was an immensely good friend to the School over many years. His work ranged from regular concerts with our Symphony Orchestra to informal drop-ins to coaching string quartets. He gave of his time freely and generously, and was enormously caring and supportive in his mentoring of young players.

He also kindly agreed to be President of the Board of Patrons for the fundraising Campaign for Milton Court, the School’s new building.

To work so intimately with a world-class artist of such renown was a source of constant artistic inspiration and delight to staff and students alike. He will be greatly missed.”

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A long-standing friend to the School, Sir Colin Davis’s death was felt throughout the Guildhall School community.

“So sad to hear about Sir Colin Davis – an amazing musician and a hero for me both as a student at GSMD and throughout time at LSO” “I had the pleasure of being conducted by Sir Colin Davis in a live BBC Prom while at @guildhallschool.

He was quick, talented. Thank you.”

“Used to watch Sir Colin rehearse when I was at GSMD – the music flowed thru him – his Midsummer Marriage is one of the best recordings ever” “Sir Colin Davis. What an amazing musician, and one who inspired me to conduct with his conducting of Berlioz Grande Messe at GSMD years ago.”

“Sir Colin was such an enthusiastic and generous teacher at @guildhallschool – he will be missed #RIPColinDavis” “Remembering when at the @guildhallschool, lots of us sang in the #LSO chorus. Great times with #ColinDavis and lots of #Berlioz. RIP”

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News

Technical Theatre Arts Graduate Exhibition 2013 In July 2013, we hosted our very first Technical Theatre Arts Graduate Exhibition, which offered a chance to meet our graduating students and view some of their work created for our operas, dramas and musicals as well as for personal projects.

The exhibition showcased the remarkable range of work produced by the first class to graduate from the newly structured BA (Hons) Technical Theatre Arts programme, in which students develop their creativity and problemsolving skills specialising in one of three pathways: Stage and Costume Management; Design Realisation (Scenic Art, Scenic Construction & Prop Making); and Theatre Technology (Lighting, Sound, Video & Automation).

Supporters attending both of the Summer Gala performances of the musical Rags were given preview access to the exhibition, which was open to the public during the day on Wednesday 10 July prior to the private showing for stage management and technical theatre alumni and industry professionals.

Pieces on display ranged from the articulated angel wings from The Laramie Project and the lion’s head from A Midsummer Night’s Dream to projection-mapping onto

a scale model of Milton Court and costumes from some of this year’s productions.

The alumni and industry private showing resulted in several offers of future work placements and backstage tours for our students, masterclasses and visiting lectures, and, of course, the graduating students were able to make some valuable industry connections. Meanwhile the gala and public exhibition showings proved very popular, with guests keen to learn more and ask lots of questions about the work that goes into our public productions.

One exhibiting student received a job offer as a direct result of the private showing and began work as Costume Supervisor on a production of A Midsummer Night’s Dream the following Monday! v Ben Sumner Director of Technical Theatre

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News

Guildhall singers brave the elements for Peter Grimes on Aldeburgh beach

The Chorus of the Guildhall School performed in Aldeburgh Festival’s landmark outdoor production of Benjamin Britten’s Peter Grimes in June to celebrate the composer’s centenary year.

In one of the most talked-about cultural events of 2013, the staging placed the audience directly in the opera’s setting on Aldeburgh beach, watching as dusk fades over the sea, immersing them into the world of Peter Grimes and the local community that has branded him a murderer and hunted him down.

Tenor Alan Oke performed the title role live with amplification, accompanied by the Chorus of the Guildhall School and the Chorus of Opera North. The score, as performed by the BrittenPears Orchestra conducted by Steuart Bedford, was recorded in an earlier indoor concert at Snape Maltings and broadcast on the beach. The production was directed by Tim Albery.

The unique event was captured on film, and will be released in cinemas across the UK in September 2013, and available on DVD. The film is produced by MJW Productions Ltd, and is directed by Margaret Williams, whose film of Britten’s Owen Wingrave for Channel 4 was described by The Telegraph as ‘probably the best film version of an opera yet made’.

A limited edition double-CD of the concert performances of Peter Grimes, recorded at Snape Maltings Concert Hall ahead of the beach productions, is now available to buy.

Britten lived and composed in Aldeburgh for 30 years. A powerful evocation of the North Sea, Peter Grimes has become inextricably linked with the Aldeburgh that was home to Crabbe in the 18th century and Britten in the 20th.

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The production attracted widespread acclaim from the press: “Quite simply one of the best musical experiences I can remember.”

Classical Music

“…the chorus, recruited from Opera North and the Guildhall School and combining their unmiked voices with pre-recordings, was hard to fault.”

The Guardian

“The Chorus of Opera North combined with the Chorus of the Guildhall School of Music & Drama fulfil their duties with gusto.”

The Arts Desk

“Opera-house productions of Peter Grimes will come and go, but for me – and probably for everyone else at this extraordinary spectacle – none will hold a candle to what we witnessed under a black sky, in a biting wind, by the water’s edge.”

The Independent

For more information on Aldeburgh Festival’s production of Peter Grimes and the CD and film release, visit www.brittenaldeburgh.co.uk

News

New partnerships The Guildhall School has announced exciting new partnerships with the Royal Opera House and the Academy of Ancient Music, both launching in September 2013.

The Royal Opera House collaboration is one of the first examples of an opera company and conservatoire joining forces to offer a Composer-in-Residence studentship which leads to a doctoral degree. This unique, fully-funded role forms part of the School’s existing doctoral programme, and offers one composer every two years the opportunity to be Doctoral Composer-in-Residence at the Royal Opera House over a three-year period. During this time, the composer will research and write a major work for the Linbury Studio Theatre, and have the opportunity to shadow the development and production of contemporary opera at the Royal Opera House.

The first composer to take up the role in September 2013 is Philip Venables.

The School also plans to launch a new MA in Opera Making & Writing in collaboration with the Royal Opera House, to commence in September 2014 (subject to validation), which will allow composers and writers to focus exclusively on how new opera is created, developed and performed.

Kasper Holten, Director of Opera at the Royal Opera House said, “We are extremely keen to collaborate as widely as possible with others in order to develop the future of opera. And we cannot imagine a more exciting partner to work with – on several levels – than the Guildhall School.

It is important that we take risks, when we try to create the opera of tomorrow. But it is equally important that we discuss, analyse and continue to understand better how the magic of opera works and how we can offer the best possible tools to the composers, librettists, directors and other opera makers of the future.”

The Academy of Ancient Music (AAM) partnership will create a centre of excellence in historical performance at the School with one of the world’s leading period instrument ensembles at its heart.

The AAM is an Associate Ensemble at the Barbican Centre, just next door to the School. This new partnership will provide Guildhall musicians with a range of opportunities to prepare them for careers in the profession including masterclasses with AAM principal players, access to major artists working with the AAM, side-by-side ensemble workshops, mock auditions, exclusive access to AAM rehearsals, Q&A sessions and a variety of networking opportunities.

Jonathan Vaughan, Director of Music at Guildhall School commented, “I am absolutely delighted to welcome this new partnership with the AAM. The Guildhall School sees partnerships with the professional industry as paramount to training the musicians of tomorrow. The AAM joins an exciting portfolio of illustrious organisations with whom the School has on-going formal relationships; alongside the LSO this also includes the Barbican, the Royal Opera House and the BBC Symphony Orchestra.”

Currently study in Historical Performance at the Guildhall School is at postgraduate level, but from autumn 2013, a brand new BMus Principal Study pathway, Early Instruments, open to all instruments and instrument families, will become available, extending Historical Performance study across Bachelors, Masters and Doctoral levels. www.gsmd.ac.uk/music GUILDHALL SCHOOL NEWS

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News

Guildhall young artists team up with their LA counterparts for the landmark Discover Dudamel

Over 100 young London-based musicians experienced a memorable day of music making with renowned Venezuelan conductor Gustavo Dudamel and the Youth Orchestra of Los Angeles as part of the LA Philharmonic’s first Barbican residency in March 2013.

Discover Dudamel was a vibrant open rehearsal in the Barbican Theatre which brought together instrumentalists from Junior Guildhall, Centre for Young Musicians, Barbican Young Orchestra, and local East London boroughs Barking & Dagenham, Tower Hamlets and Hackney to work alongside musicians from the Youth Orchestra of Los Angeles in rehearsing passages from Tchaikovsky’s fantasy overture Romeo and Juliet and Nimrod from Elgar’s Enigma Variations under the baton of the celebrated maestro.

The project aimed to inspire a community of young musicians and Discover Dudamel was the culmination of an intensive musical journey to explore the works. In the weeks leading up to the open rehearsal, participants attended three rehearsals led by Ben Gernon, Guildhall School alumnus and winner of the Nestlé Salzburg Young Conductors Award in May 2013.

Discover Dudamel garnered outstanding interest in local, national and international press, from the FT and Hackney Citizen in the UK, to the LA Times. Writing for the FT, Harry Eyres commented, “The change Dudamel had achieved with this group of young players was not just musical, though it certainly was that. He somehow managed to get them playing very difficult string semiquaver passages like seasoned pros – saying “this is our job as conductors, to ask of the orchestra things that are impossible.””

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On the same day, senior Guildhall School musicians took part in a series of masterclasses led by musicians from the LA Philharmonic, many of which were open to the public.

They included a trombone class led by Nitzan Haroz, a harp class led by Lou Anne Neill, a French horn class led by Andrew Bain, and a cello class with Robert deMaine.

To find out more and watch a video from Discover Dudamel, visit the Barbican’s blog: blog.barbican.org.uk

What participants said: “Discover Dudamel was an inspirational event, and an experience that I will never forget. It was wonderful to work with an international conductor who was not only talented but very funny and kind.”

“The orchestra itself was amazing, and Gustavo Dudamel brought the best out of us all. He was so charismatic and showed us that each note of every piece of music has to be played with passion and meaning.”

“Our first two rehearsals with the London musicians were led by Ben Gernon, a fantastic conductor. Ben is really passionate about music, and an inspiring teacher ... I felt that I learned a lot from this about how conductors think, and why they do certain things in order to get the best sound from the players.”

News

Junior Guildhall Announces New Jazz Course Specially devised programme caters for specialist and non-specialist jazz musicians instruments offered (piano and saxophone) the following first studies will be available: trumpet, trombone, tuba, guitar, bass guitar, double bass, drum kit and voice, plus other instruments by negotiation.

The programme will offer • One-to-one tuition with a specialist jazz musician • One-to-one tuition with a specialist classical musician • Classes taken by visiting jazz specialists • Regular performance platforms and opportunities to participate in Big Band and Jazz Ensemble groups • Musical Awareness classes Junior Guildhall has always had a strong jazz department with tutors Jonathan Taylor (Jazz Piano, Musical Awareness and Ensemble), Ollie Western (Jazz Saxophone, Musical Awareness and Ensemble) and Robert Pell (Jazz Piano), but has never before offered a dedicated specialist jazz course.

From September 2013 Junior Guildhall will offer a specially devised programme catering for both specialist and non-specialist jazz musicians. In addition to the current

One-to-one tuition for the new first studies will be taught by senior Guildhall School professors during the week, between Monday and Friday from 5.00pm.

Junior Guildhall jazz students will also benefit from the Guildhall School’s higher education jazz programmes, including opportunities to be involved in shared projects with undergraduate musicians and to take part in masterclasses with artists visiting the senior School.

New short course launch:

Mindfulness for Performers Autumn 2013 Mindfulness meditation is a well-researched, non-religious and very effective means of alleviating stress, anxiety and depression, and promoting well-being and flourishing.

This practical evening course has been developed at the Guildhall School to support musicians and actors in their creative work and in their lives. Skills for practice, performance and general good mental health will be taught in eight weekly classes (Thursdays 6 – 8pm starting 17 October).

The course is taught by Chris Cullen, who works as a mindfulness teacher and psychotherapist. He co-founded the Mindfulness in Schools Project, and teaches mindfulness courses for musicians and actors at the Guildhall School as well as students at Oxford University. Chris was a Choral Scholar at King’s College Cambridge and has an abiding interest in how mindfulness can support the creative work of performing artists. He has a Master’s degree

in Mindfulness-Based Cognitive Therapy from Oxford University, and is on the teaching team at the Oxford University Mindfulness Centre.

The School’s mindfulness course specifically adapts the standard ‘Mindfulness-Based Stress Reduction’ [MBSR] and ‘Mindfulness-Based Cognitive Therapy’ [MBCT] programmes to be particularly suitable for those working in the performing arts. Amongst the themes explored are: working with obstacles such as performance anxiety and self-criticism, and cultivating stage presence and flow.

For further information about Mindfulness for Performers, go to www.gsmd.ac.uk/mindfulness If you have any queries regarding short courses, please contact our short courses hotline on 020 7382 2310 or email shortcourses@gsmd.ac.uk

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News

Student Successes

This academic year saw Guildhall School students triumph in prestigious award ceremonies, competitions and auditions across the globe. Here are some of the highlights: Raphaela Papadakis (Opera Course) won 1st Prize and the Audience Prize at the Clonter Opera Prize, while Joshua Owen Mills (Opera Course) won 2nd Prize at the National Mozart Singing Competition. Adam Sullivan (MMus Vocal Studies) won Best Male Performer in the Buxton International Gilbert and Sullivan Festival, and Bethan Langford (MMus Vocal Studies) won the John Fussell Trust Award. Duo Alessandro Fisher (MMus Vocal Studies) and Ricardo Gosalbo (MPerf Accompaniment) were winners at the Oxford Lieder Young Artist Platform.

Sophie Dee (left)

Over in the Keyboard Department, Minjung Baek (Artist Diploma Piano) won 1st Prize in the Beethoven Piano Society of Europe Intercollegiate Piano Competition and also 1st Prize in the Premio Salieri International Piano Competition in Italy. Sophie Dee (BMus Piano) also had a successful year, winning the Piano Section of the prestigious Royal Over-Seas League Competition and 1st Prize in the Christopher Duke Piano Recital Competition at the Watford Festival, where fellow Guildhall pianist Mihai Ritivoiu (MMus Piano) was awarded 2nd Prize. Jonathan Morris (BMus Piano) took two prizes in Ireland – the Hamilton Harty Cup and the Anthony Glavin Trophy and Award.

Meanwhile, Guildhall pianists swept the board for the second year in a row at the Oxford Music Festival, where BMus pianists Misako Osada, Kristiina Rokashevich and Drew Steanson took 1st, 2nd and 3rd Prizes respectively.

Last year’s Gold Medal winner Ashley Fripp (MPerf Piano) won the Prince’s Prize from the Worshipful Company of Musicians, and doctoral student Richard Rovirosa (DMus Piano) won 1st Prize at the Emanuel Trophy Piano Competition. Antonina Suhanova (BMus Piano) triumphed at the Jurmala International Piano Competition in Latvia.

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As part of the increasingly successful Busch Ensemble, Jonathan Bloxham (MPerf Cello) won the Tunnell Trust Award, the Philharmonia MMSF Ensemble Award, the Kirckman Concert Society Award and 2nd Prize in the Schumann International Chamber Music Competition.

Classical guitarist Francesco Scelzo (MPerf Guitar) won the Maisie Lewis Young Artists Award and will perform a Wigmore Hall recital next year as a result. Jenny Lewisohn (MMus Viola) was awarded joint 1st Prize in the Kenneth Page Foundation Competition, and Mara Lobo (BMus Cello) won 1st Prize at the Marília Rocha Cello Competition in Portugal. Guildhall ensemble Trio Isimsiz (Pablo Hernan, Michael Petrov and Erdem Misirlioglu) won second prize at the Cavatina Piano Trio competition at the Royal Academy of Music and were selected for management by YCAT. The trio’s cellist Michael Petrov was also successful at the YCAT auditions as a soloist, and was additionally selected as an ECHO Rising Star this year.

Guildhall School harpists celebrated successes this year with Rita Schindler (MMus Harp) winning 1st Prize at the Central England Ensemble Concerto Competition, and Solenn Grand (BMus Harp) winning 2nd Prize in the Camac Harp Competition. Zuzanna Olbrys (MMus Harp) won 1st Prize in the Polish National Competition for Duos with her fellow Erasmus student and duo partner Anna Caban (MMus Violin).

The Wind, Brass and Percussion Department toasted Sophie Creaner (BMus Recorder), who won the Senior RTE Lyric FM bursary competition, winning the wind section and then going on to win the overall prize. Daniel Harding Israelsen (BMus Percussion) won the Jazz Prize

Sophie Creaner (centre)

News of the Anjool Maldé Memorial Trust. This summer the School also has a strong representation of students on courses with highly competitive entry, including eight at this year’s London Sinfonietta Academy, and three at the LSO Percussion Academy.

while Gold Medal winner Eva Feiler will appear as Emilia/ Dorcas in The Winter’s Tale for the Sheffield Crucible. Jamie Satterthwaite and Rob Callender have gone on to roles for the National Theatre and Chichester Festival Theatre respectively.

Six-piece a cappella group Vive, made up of jazz students Ben Cox, Lewis Daniel, Emily Dankworth, James Rose and Martynas Vilpisauskas, won the UK A Cappella Voice Competition and were presented with the Ward Swingle Award for outstanding originality, outstanding musicality and also best arrangement. They subsequently performed live on The One Show on BBC One. In Composition, Raymond Yiu (DMus Composition) was shortlisted in the Chamber Works category of the British Composer Award for his piece Les Etoiles au Front.

In Junior Guildhall, it was success for one happy family at the Croydon Music Festival when 13-year-old harpist Felix von Spreckelsen won 1st Prize in the Advanced Solo Class and the David Watkins Trophy while sister Rosie won 1st Prize in the Advanced Recital Prize and the London Mozart Players Prize. Felix also won the Bromley Music Festival Star Performer Prize this year. In other local competitions, Johann Clubb won the Kingston Young Musician of the Year competition, the youngest competitor in the finals, Chris Brewster won the Woking Youth Music Trust competition and oboist Charlotte Cox won Best Woodwind Player in the Farnham Music Festival Young Musician Award.

Meanwhile, Junior Guildhall Composition department celebrated Lilly Vadaneaux winning the National Centre for Early Music’s annual Composers Competition. Her piece was played by Florilegium at the Bath International Festival in June and was broadcast on BBC Radio 3’s Early Music Show, including an interview with Lilly. Fellow composer Jay Richardson was a winner in the Royal Opera House Fanfare Composition competition.

Over in the Drama department, three final-year actors left early to take up professional roles: Ben Schnetzer took the part of Max in the forthcoming Fox movie adaptation of Markus Zusak’s bestselling novel The Book Thief, while Jordan Metcalfe won the role of Les Dennis in an upcoming Tommy Cooper biopic for ITV. Celina Sinden joined the cast of Reign, a period drama series for CBS in the United States due to air later this year. Their classmates Stefan Adegbola and Alex Large have been cast in A Midsummer Night’s Dream for The Michael Grandage Company opposite Sheridan Smith and David Walliams,

Student Union achieved a Silver Award in this year’s NUS Green Impact Awards!

The Guildhall School Student Union achieved a Silver Award at this year’s NUS Green Impact Awards.

The Guildhall School Student Union first entered Green Impact in 2011/12, and achieved Bronze. This year, the newly-established Green Team, led by 2012/13 SU President Daisy Evans, set their sights on Silver. Following a visit by a Green Impact auditor in February, the SU were awarded Silver with a total of 165 points, including full marks in the categories of Communication and Representation – that’s an increase of 119 points on last year’s score, and an impressive 52 points higher than the 2012/13 sector average.

Green Impact Students’ Unions is a behavioural change programme delivered by NUS, helping students’ unions to improve environmental practice. The programme helps to improve practice in areas such as energy, procurement, biodiversity and waste.

Dannie Grufferty, NUS Vice President of society and citizenship said: “It’s so important to congratulate students’ unions for their dedication to improving environmental practice – and it’s wonderful to see the standards being raised each year, thanks to the innovation and commitment displayed by countless staff and students.” v Julia Lazarus Student Life Officer

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News

Gold Medal and Lutine Prize winners 2013 We are delighted to announce the winners of the School’s most prestigious prizes, the Gold Medals in Drama, Technical Theatre and Music and the Junior Guildhall Lutine Prize.

21-year-old Eva Feiler from Bristol is the recipient of this year’s Drama Gold Medal. During her time at the School, Eva’s roles included Feste the clown in Shakespeare’s Twelfth Night directed by Patsy Rodenburg, and police officer Reggie Fluty in The Laramie Project directed by Wyn Jones. Eva also won the School’s Michael Bryant Award for verse speaking performed at the National Theatre. She is soon to star as Emilia and Dorcas in Shakespeare’s The Winter’s Tale directed by Paul Miller at the Crucible Theatre in Sheffield.

The winner of this year’s Technical Theatre Gold Medal is 21-yearold Charlie Smith from Clacton-On-Sea, who studied on the Theatre Technology pathway and gained the highest marks in his year.

During 2012/13 Charlie was Sound Designer on Blood Wedding, Production Manager on Twelfth Night, and Sound No. 1 on Rags.

He is currently working as Sound No. 1 on The Little Shop of Horrors at Aberystwyth Arts Centre.

In May soprano Magdalena Molendowska, 32, won this year’s music Gold Medal, the prize for outstanding soloists.

Magdalena studied at the Music Academy in Gdansk before joining the Guildhall School’s Opera Course to study with Rudolf Piernay.

She impressed the judging panel – bass Sir John Tomlinson, The Observer’s chief classical music critic Fiona Maddocks, Music Director of the Royal Opera House Sir Antonio Pappano, Head of Music for the Royal Opera House David Syrus, and the Guildhall School’s Director of Music Jonathan Vaughan – with her performance at the Barbican Hall which included Dvořák’s Songs my mother taught me accompanied by pianist Catherine Norton, and arias from Puccini’s Tosca and Verdi’s Aida with the Guildhall Symphony Orchestra.

Junior Guildhall’s Lutine Prize went to 17-year-old Matilda Lloyd – the first trumpeter to receive the award. Matilda is the current holder of the Junior Guildhall Trumpet Scholarship and has won several competitions, including Woking Young Musician of the Year, Marlowe Young Musician of the Year and the Guildford Symphony Orchestra’s Young Artist’s Prize.

Matilda’s sister, Verity, 15, was the Lutine Prize runner-up on percussion.

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News

Staff Successes This year the Guildhall School launched a Scheme for the Conferment of Title to Professor for teaching staff.

In conferring the title of Professor each applicant was required to demonstrate a national and international standing in their discipline, as established by outstanding contributions to its advancement through publications, creative work or other appropriate forms of scholarship or performance, and through teaching, including innovation in the learning process, administration and academic leadership.

Following a meeting of the committee, chaired by the Principal and including two external peers the following members of staff had the title of Professor conferred upon them:

Helena Gaunt Assistant Principal, Research and Academic Development

Patsy Rodenburg Head of Voice, Acting Department

Ronan O’Hora Head of Keyboard Studies, Music Department

Susan McCulloch Principal Study teacher, Department of Vocal Studies

The title of Professor will take effect from the beginning of the autumn term.

Other staff successes this year included: Professor Barry Ife, Principal of the Guildhall School, was made a Fellow of the Royal College of Music in its annual awards ceremony presided over by the RCM’s President, HRH The Prince of Wales. The Fellowship was conferred on five “outstanding figures in international musical life” which, in addition to Professor Ife, included singer Alfie Boe, the RCM’s Head of Percussion David Hockings, guitarist and composer Gary Ryan, and flautist and conductor Jaime Martin.

Composer in Residence and Professor of Composition Julian Anderson won a South Bank Sky Arts Award for his orchestral work The Discovery of Heaven, which was also nominated for a British Composer Award. Julian is currently working on the opera Thebans, based on the Oedipus trilogy, for English National Opera which premieres in the 2013/14 season.

Ian Clarke, composer and professor of flute at the School, reached No. 8 in the Official Charts Company Classical Charts with his new CD of selfcomposed works, Deep Blue, released on his own label, IC Music, on 13 May.

Deep Blue features repertoire composed

by Ian between 2006 and 2012, and includes three works supported by the Guildhall School’s Research department – Curves, Touching the Ether and Hatching Aliens – which have been performed by students in exams and recitals at the School, as well as internationally. For more information about Ian’s work and to hear extracts from Deep Blue, visit www.ianclarke.net Russia’s top music-theatre prize, the Golden Mask, has been awarded to opera Anima e Corpo directed by Andrew Lawrence-King, who is Professor of Early Harp at the School. The opera is the first production for the new hall of Moscow’s Natalya Satz theatre, in Andrew’s musical edition set to Alexey Parin’s Russian translation. The Golden Mask, the Russian Federation’s most prestigious prize for all genres of theatrical art, is awarded by the Theatre Union in conjunction with the Ministry of Culture and the Moscow Government. Chairman of the Music Jury, Eri Klas characterised the opera as “a show which speaks inspirationally with both body and soul, speaks to all people, without age limits, to which all ages yield surrender”.

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News

New room booking system Asimut launches The start of the summer term saw the introduction of a brand new room booking system for the School.

Asimut, which is used by several other UK and European conservatoires, launched on 22 April with a foyer event including demo screens and free puddings to entice people over to the stand! Rolled out in time for the opening of Milton Court, this system is a major investment for the School and offers significant improvements in the room booking process for staff and students:

• From September, students will be able to book practice rooms online and on their smartphones via the student app.

• In the long term, staff will also be able to book their rooms online.

• Students and staff will be able to see their schedule of classes, rehearsals and exam deadlines in one place for the very first time.

• The notifications of class changes and room moves will be much improved.

• Students and staff will be able to contact their professors, colleagues and classmates via email direct from Asimut.

• Staff and students can see their own bookings, view what is happening in other rooms and search for classes and professors.

Asimut can be accessed at https:// gsmd.asimut.net or via the School app at guildhallschool.mobi

Visit your local music shop Barbican Chimes Music Cromwell Tower, Silk Street, London EC2Y 8DD T 020 7588 9242 E barbican@chimesmusic.com

Academy Chimes Music Royal Academy of Music, Marylebone Rd, London NW1 5HT T 020 7873 7400 E academy.chimes@ram.ac.uk

Kensington Chimes Music 9 Harrington Road, South Kensington, London SW7 3ES T 020 7589 9054 E kensington@chimesmusic.com

Ealing Chimes Music 11 Queens Parade, Queens Drive, Ealing, London W5 3HU T 020 8997 4088 E ealing@chimesmusic.com

Opening hours: Monday–Friday 9.00–5.30, Saturday 9.00–4.00

www.chimesmusic.com

Quarter Page Advert 1 SCHOOL NEWS 24 GUILDHALL

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02/07/2013 10:23

Alumni Alumni News News

Alumni Community pages • Alumni News • Alumni Events Diary • Class Notes

Damian Lewis receives Freedom of the City Guildhall School alumnus Damian Lewis received the Freedom of the City of London in recognition of his outstanding achievements in acting.

Homeland star Damian Lewis (Acting 1993) received the Freedom of the City of London on Tuesday 19 March in recognition of his outstanding achievements in acting.

Following a ceremony in the City’s Guildhall, Damian took part in a Q&A chaired by Martin Connor, the Guildhall School’s Head of Acting Studies, for an invited audience which included students from local schools and staff from the City of London Corporation.

On receiving the award, Damian said “It’s the most extraordinary honour to be offered the Freedom of the City of London – the city that I have grown up in, and love, more than any other. My grandfather was a Haberdasher, one of the Great Twelve Guilds, and I trained at Guildhall School in the Square Mile. For over 700 years, merchants, financiers and actors – to name but a few – have lived and worked here ‘cheek by jowl’ and this illustrates just what diversity there is in the City of London. I’m very, very proud to be associated with it, and to be recognised in this way.”

Alumni Sarah Power (Opera 2008) and Anna Cardona (Piano Fellowship 2011) were invited to perform a private recital for Placido Domingo when he received Freedom of the City in April.

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Class Notes

Alumni News

The original Owen Wingrave: Ben Luxon returns to Guildhall

Benjamin Britten wrote the eponymous role of Owen Wingrave for Guildhall alumnus Benjamin Luxon, who came back to share his unique insights with our singers.

The subject of the School’s forthcoming production of Owen Wingrave inevitably came up when Ben Luxon attended our New York Reunion last January. Four months later Ben flew to London to spend a very full week working with our singers.

During that time, he worked with both casts of Owen Wingrave, coached undergraduate and postgraduate singers on their final recital pieces and led a public masterclass. This was a fantastic opportunity for our students and they were delighted when he returned in June to see the finished production.

Alumni hat-trick at the Offies!

Congratulations to the three alumni who won awards at the 2013 Offies: Richard Howell (SMTT 2006) won the Best Lighting award for The Hairy Ape at Southwark Playhouse, Dame Eileen Atkins (Speech & Drama 1953) won the Best Female Performance award in All That Fall at Jermyn Street Theatre and Nell Catchpole (PCS 1996, and Leadership programme leader) who wrote the score for Brand New Ancients at BAC which won Best TBC Production.

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Music

Rafael Benatar (Lute 1981)

Margaret Archibald (Voice/Piano 1970)

Margaret is Artistic Director of Everyone Matters. The organisation exists to take music into schools, special schools and the wider community and was set up in November 2010, becoming a registered charity in August 2011.

Christina Athinodorou (Composition 2005)

I am presently living in Madrid. Aside from what I studied at the Guildhall (the first ever AGSM on lute, 1981), I am, by now, also a magician. I work at theaters as well as at corporate and private events, and also lecture for magicians around the world. To get a glimpse, go to YouTube and search “Benatar reactions”. In June I took part in the Luminato Festival in Toronto, with a show titled Compositions, which combines Baroque lute and guitar music, with standup magic with playing cards and other elements. www. rafaelbenatar.wix.com/magic

Kia Bennett (Flute 2009) and Pasha Mansurov (Flute 2009)

Composer Christina Athinodorou was awarded both the Prix du Jury and the Coup de Cœur du Public in the first edition of the composition competition Île de Créations in France (January 2013). The winning piece Intermède pour une mer jamais vue for Symphony Orchestra, was performed by the Orchestre National d’Île-de-France in Salle Pleyel in Paris and published by Éditions Durand. www.athinodorou.com

Kia and Pasha have teamed up with BBC Symphony Orchestra principal flute Michael Cox to create www.principalchairs.com.

The idea for the website was inspired by the orchestral course at the Guildhall School. It aims to provide the best online preparation for orchestral performance and auditions and includes notation of orchestral flute excerpts on the same page as recordings of the same sections of music and video lessons from top artists including Emily Beynon (Royal Concertgebouw), Katherine Bryan (Royal Scottish National Orchestra) and Patricia Norris (formerly of BBC Symphony Orchestra).

Sarah Bennington (Flute 2009)

Pippa Cleary (Junior Guildhall 2004)

Sarah has been appointed 2nd Flute Principal at Scottish Opera.

Pippa won the 2013 Arts Foundation Fellowship award for Composition for Musicals.

Koji has won 1st Prize at the Les Azuriales Opera YAP 2013 competition.

Alexander Campkin (Junior Guildhall 2001)

Peter Foggitt (Piano 2012)

Elizabeth Walker (Flute 1989)

Peter won the Accompanist’s Prize at the 2013 Kathleen Ferrier Awards.

Elizabeth was recently invited by the Canadian Flute Convention to present a recital on her original Louis Lot flute from 1859, accompanied by the pianist Richard Shaw. Elizabeth appeared live on BBC Radio 3’s In Tune last August, ahead of her recital at the British Flute Society convention.

Ben Gernon (Tuba 2011, Conducting 2012)

Over the last two years my music has received 160 performances or broadcasts.

Highlights include Swedish ensemble Serikon recording and touring my Colour blinds the eye, a commission supported by the Swedish Arts Council.

My Awake, in Chorus commissioned by the Royal Opera House was performed in the Paul Hamlyn Hall ROH, Covent Garden. The Tallis Scholars broadcast my O magnum mysterium across Europe, Australia and New Zealand.

My solo organ piece Solar Flare was performed in eight music festivals in Europe, and my Cycles of Time commissioned for contemporary dance was toured, and excerpts broadcast on BBC Television.

Mike Christie (Baritone/Bass 2004) Mike has written the libretto and score for a new opera The Miller’s Wife that premieres in the Grimeborn Festival at the Arcola Theatre this summer. www.themillerswife.co.uk

In May 2013 Ben conducted Camerata Salzburg in a programme of Maxwell Davies, Mozart and Beethoven to win the prestigious Nestlé and Salzburg Festival Young Conductors Award.

Ben was awarded €15,000 and the opportunity to lead a summer concert at the prestigious Salzburg Festival on August 17 with the Gustav Mahler Youth Orchestra.

Albert Horne (Repetiteur 2007) Albert is Chorus Master for Cape Town Opera which won the Best Chorus Award at the inaugural Opera Awards earlier this year.

Steven Hudson (Oboe 2006 and Oboe Professor) Steven has been appointed Principal Oboe at Northern Sinfonia.

Jocelyn Pook (Viola 1982)

Koji Terada (Opera 2011)

After winning her second BASCA British Composer Award, Jocelyn Pook has enjoyed two high-profile premieres in as many months.

She reunited with choreographer Akram Khan, following their awardwinning stage show DESH, for a new collaboration, iTMOi (‘in the mind of Igor’) at Sadler’s Wells Theatre, marking the centenary of Stravinsky’s The Rite of Spring. This was followed a month later with Trees, Walls, Cities – a song cycle with the Brodsky Quartet and mezzosoprano Loré Lixenberg which featured music by nine different composers and was performed as part of the City of London Festival. Jocelyn’s soundtrack to DESH is now out on CD, plus she is rereleasing her album Untold Things.

Elizabeth is a regular contributor to the PAN magazine, writing articles about historically informed performances of baroque music on a modern flute and in the celebratory June edition, looked back at the last 30 years of the baroque flute, with reference to her studies at Guildhall School and the study that is provided today: www.bfs.org.uk/flutejournal.php Elizabeth’s new baroque flute study book ‘Tone Through Interpretation’ will be published shortly by WonderfulWinds.com

Zhiying Wei (Trombone 2011) Mike Simpson (Percussion 1999) Mike’s company Inspire-works has teamed up with the Street Child World Cup charity, the Royal Albert Hall, Arts Award and Drum & Bass record label Hospital Records to facilitate a samba music programme in schools culminating in a performance at the Royal Albert Hall in early March 2014 which will include a Guinness World Record attempt for the World’s Largest Samba Band!

Zhiying has been appointed 2nd Trombone in the Beijing National Centre for the Performing Arts Symphony Orchestra.

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Class Notes

Alumni Events Diary

Cordelia Williams (Piano 2013)

In July, Cordelia released her debut CD of Schubert’s Impromptus D899 and D935 and Ländler D366, for SOMM Recordings. On release it was made Classic FM Drive Featured Album of the week! www.cordeliawilliams.net

Drama Charlotte Allam and Steven Robertson (both Acting 2002)

Fernando Pinho (SMTT 2010)

Over the last few months, Fernando has celebrated the birth of his first child Amélia (pictured above with Fernando and partner Jane Anthony), opened a new regional theatre in Portugal, Casa da Criatividade (Creativity’s House), and produced and directed the first Portuguese version of Spring Awakening.

David Rose (Speech & Drama 1950) After serving in the RAF Bomber Command during the War, a Government grant supported me as a Drama student at the Guildhall School. My studies included Double Bass and Singing.

Charlotte and Steven are happy to announce their recent marriage in St Albans.

The wedding was followed by a traditional dance (‘hamefiring’) in Steven’s native Shetland Isles.

Invertigo Theatre Company (Acting 2012) Invertigo were awarded the Charlie Hartill Special Reserve Fund Award by Pleasance Theatre for their production of Outside on the Street at this year’s Edinburgh Festival Fringe.

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My first professional work was stage management and directing in the Reginald Salberg Royal Hippodrome Repertory Company, in Preston, Lancashire. Stage direction and business management with the Kurt Jooss Ballets and Sadler’s Wells Theatre Ballet eventually led to 27 years with BBC Television Drama.

This included producing 176 live episodes of Z Cars and my last ten years as Head of English Regions Drama, based in Birmingham. In 1981 I was invited to become a founder member of the new Channel Four Television, as Senior Commissioning Editor, Fiction – this embraced all things dramatic, particularly Film on

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Four. Being an Independent Producer has occupied me in the latter years.

A Fellow of BAFTA and the British Film Institute, holder of the Royal Television Society’s Gold Medal and being able to say that I played Scarlatti’s Good Humoured Ladies and the Schuman A Minor Concerto in the back desk of the second violins of the Ministry of Food Orchestra during the war all give me equal pleasure!

Starting with an invitation to present my recollections at the National Film Theatre on the South Bank, My Journey Together has now had some 20 outings including universities.

We are grateful to David for inviting and welcoming our students to a screening of My Journey Together at the Cinema Museum in 2011.

Ashley Zhangazha (Acting 2010)

Recent Friday 28 June

Alumni Chorus First Meeting Wednesday 3 July

Recent Graduates (Drama) Reunion Sunday 7 July

GGSM 1980/81 Reunion Wednesday 10 July

Technical Theatre Graduate Exhibition, Private Viewing

Coming up 2013 Sunday 6 October

Frederick Applewhite Memorial Concert Friday 18 October

Guildhall Jazz Band and the London Jazz Orchestra: A Tribute to Pete Saberton (1950–2012) Sunday 10 November

Drama Alumni Open Session Thursday 14 November

Hong Kong Alumni Lunch

2014 Thursday 23 January Ashley won the 2012 Ian Charleson Award for the best performance by an actor under 30 in a play written before 1918.

New York Recital & Reunion Friday 21 February

James Gibb Memorial Concert

If you would like further information about any of the above, or are planning or thinking about planning a reunion that is not listed, please contact the Alumni Office (alumni@gsmd.ac.uk, 020 7382 2325).

In Memoriam Frederick Applewhite ARCM FGSM (d. 2013)

Noelle Barker OBE (1929 – 2013)

James Gibb (1918 – 2013)

Frederick Applewhite was born just outside Lincoln and studied at the Royal College of Music. At the outset of his career he played with the LPO and the Sadler’s Wells Opera Orchestra, where he met his wife Desiree.

In 1963 he became Instrumental Adviser to the Youth Orchestra in the East Riding of Yorkshire. Whilst there he was Chamber Music Coach and Professor of Violin at Hull University.

In 1970 he was invited to London to become Senior String Tutor for the ILEA where he remained until 1988.

During this time he was a regular string coach, violin teacher and Principal Conductor with the London Schools Symphony Orchestra and realised a personal ambition in the founding of his own string orchestra, the London Youth String Ensemble, consisting of players from all the major London conservatoires and colleges.

In addition to peripatetic and private tuition, Frederick had extensive experience as an adjudicator and in 1995 he was appointed a regional judge in the Sainsbury’s Young Orchestra competition.

From 1985-2000 Frederick was Head of Orchestral Studies at Junior Guildhall. He was professor of violin and viola and conducted various ensembles including the Junior Guildhall Symphony Orchestra and Junior Guildhall String Ensemble. The latter gained an estimable reputation and regularly played in the Barbican London and toured successfully to Germany, Spain and Poland. He became a Fellow of the Guildhall School of Music & Drama in 1993.

Frederick returned to his hometown of Lincoln in 2000 and continued teaching until his death in 2013.

A memorial concert will take place at Guildhall School on Sunday 6 October 2013. If any of Frederick’s former pupils from the Guildhall would like to play in this concert, please contact Clare Applewhite at clareapplewhite27@gmail.com (quoting subject: Fred’s Memorial Concert).

Distinguished soprano and teacher Noelle Barker has died after a lengthy battle with cancer.

Born into a musical family, Noelle played violin, viola, piano and french horn. She took science at university before deciding on a career in singing. She studied with Imogen Holstat Dartington, Hans Hotter and Vera Rosza.

Noelle had a successful and wide-ranging singing career. She became particularly known for her performances with leading ensembles such as Britten’s English Opera Group, the London Sinfonietta and the Nash Ensemble and for work in contemporary music. One particular highlight was her recording of Messiaen’s songs, which displayed her formidable gift for the French language and for interpreting complex scores.

“Jimmy Gibb was a much-loved and respected figure at Guildhall for decades and exemplified the combination of a liberal and humane spirit with the expectation of the highest artistic standards which typifies the School at its best. He inspired so many and all who knew Jimmy will be deeply grateful to have encountered a man who embodied both integrity and joy.”

Ronan O’Hora, Head of Advanced Performance Studies and Keyboard Studies

James Gibb, known as Jimmy, was born at Monkseaton, Tyneside and studied Piano with Mabel Lander.

Noelle joined the staff at the Guildhall School in 1972 and was Head of Vocal Studies 1976-88. Her work in contemporary music was a strong inspiration to singers, pianists and composers at the School. On retirement from Guildhall, she joined the faculty at the Royal Academy of Music and acted as a Vocal Consultant for conservatoires all over the world as well as undertaking private teaching and coaching.

During the war Jimmy served with the Royal Artillery, but preferred entertaining the troops. By the late 1940s he was being heard at venues such as Wigmore Hall, Conway Hall, and on the BBC Home Service. His Proms debut was in 1949 with the London Symphony Orchestra under Malcolm Sargent and he made a further six appearances at the Royal Albert Hall. One of the many highlights of his career was playing at the Unity Theatre where he was half of the piano duo in the 1951 UK premiere of Marc Blitzstein’s musical The Cradle Will Rock.

A keen supporter of young talented singers, Noelle also made time to work with organisations such as British Youth Opera (for whom she was Vice President), Royal OverSeas League, the Maggie Teyte and Kathleen Ferrier Awards.

By the 1950s Jimmy was teaching at Guildhall School; he became Head of Piano Studies in 1967, a post he held until the mid-1990s. He loved teaching and is fondly remembered as a wise and sympathetic mentor.

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In Memoriam Jimmy was made a Fellow of the Guildhall School in 1967 and a Fellow Emeritus in 1995. He continued to regularly attend performances at the School.

Dennis Maunder (1923 – 2012)

Irish actor Milo O’Shea has died at the age of 86.

Born and brought up in Dublin, he appeared in Shaw’s Caesar and Cleopatra at the Gate Theatre at the age of 12. He went on to study at the Guildhall School.

A memorial concert will take place at the Guildhall School on Friday 21 February 2014. Further details will be posted on the School’s website in due course.

Thomas Hemsley CBE

(1927 – 2013)

Thomas Hemsley was an English baritone whose singing career spanned more than 40 years.

After taking his degree in Physics at Oxford, and while still a member of the choir of St. Paul’s Cathedral in London, Thomas started his operatic career during the 1951 Festival of Britain. He went on to sing in some of the great German opera houses, at Glyndebourne, with all the major opera companies in the UK, and at international festivals throughout Europe. One of the highlights of his career was singing the role of Sixtus Beckmesser in the centenary production of Wagner’s Meistersinger at the Bayreuth Festival.

During this time, while singing some 150 operatic roles, he also built up an international reputation as a recitalist and concert singer.

Thomas sang with the greatest conductors of his time and for composers such as Vaughan Williams, Hindemith, Stravinsky, Britten, Walton, Tippett and Henze (creating roles in operas by the last four). For several years after the premiere of Britten’s War Requiem he sang virtually all the performances – mostly given under the composer’s direction.

After his retirement as a performer, Thomas devoted himself to teaching both privately, at conservatoires in Britain and Scandinavia, and through masterclasses. He began teaching at the Guildhall School in 1987 and was made a Fellow of the Guildhall School in 1996. From 1987 to 2004 he was director of the Opera programme at the Dartington International Music Summer School.

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Milo O’Shea (1926 – 2013)

Dennis Maunder trained at Central School of Speech & Drama.

After completing his studies Dennis became Assistant Stage Manager for the English Opera Group and various repertory companies before moving to the Royal Ballet in 1953 where he was ASM and later Stage Manager before moving to the Royal Opera House as Resident Assistant Producer.

Dennis began working as a freelance director from 1962. During the 1960s he directed plays at theatres including Guildford and Windsor and operas in Wexford, Washington, and the Barber Institute at Birmingham. Meanwhile Dennis joined Glyndebourne as Assistant Producer in 1963 and, in the same year, joined the Drama staff at the Guildhall School.

In 1967, he moved to the Opera Department at Guildhall, working alongside Vilem Tausky, where he directed 20 operas over 12 years. On leaving Guildhall, he continued to direct, mounting productions at the Cockpit Theatre which ranged from The Marriage of Figaro to a musical about Snoopy and Charlie Brown.

Dennis retired in the early 1990s and moved to the Isle of Wight. Exstudents from Guildhall days came regularly to stay. In 2009 he was persuaded to give an illustrated history of opera to the locals in West Wight, which he did with huge charisma and skill. The evening’s music was provided

by Fraser Goulding, Marilyn Hill Smith, Russell Smythe and Richard Jackson.

Dennis moved into a care home two years ago and was very happy there.

(With thanks to Richard Jackson for collating this information)

Milo began acting on the stage, then moved into television and film. He starred as Leopold Bloom in Joseph Strick’s film of Ulysses. Among his other memorable film roles were Friar Laurence in Zeffirelli’s Romeo and Juliet, Dr. Durand Durand in Barbarella and Inspector Boot in the Vincent Price horror film Theatre of Blood.

Milo was active in American television, portraying Chief Justice of the United States Roy Ashland in The West Wing, guest starring in the Season 10 finale of the sitcom Cheers, and, later in an episode of the show’s spin-off Frasier for which he was nominated for an Emmy.

He was nominated for a Tony Award in 1969 for his appearance in Staircase, Broadway’s first depiction of homosexual men in a serious light, and another in 1983 for Mass Appeal (for which he also received a Drama Desk Award).

Robert Schuck (1955 – 2013) Robert Schuck, who died of a heart attack aged 58, was a true polymath with a profound engagement with the core values underlying all his activities.

He was Head of Alexander Technique at Junior Guildhall.

Educated at St Paul’s School and St Peter’s Oxford, he won a prestigious music scholarship to Florence, studied clarinet with Alan Hacker, performed the UK premieres of works by Berio and Finnissy, and was broadcast on BBC Radio 3.

An outstanding clarinettist, he changed direction when he developed breathing difficulties. He qualified in Alexander Technique, did a Music BA at King’s College, London, trained as a teacher and in music technology, and taught and examined woodwind, piano and theory.

In Memoriam After studying piano with Peter Gellhorn he became an accompanist and repetiteur, assisting Sir Charles Mackerras at the re-opening of the Prague Estates Theatre in 1991.

He sang in a choir at the Royal Opera House, played with the Paddington Railway Band, collected woodwind instruments and trained as a piano tuner.

Richard’s breakthrough role as Maudslay in The Dam Busters came at the age of 23. He went on to appear in The Barretts of Wimpole Street and There’s Always a Thursday, hit television series Emergency Ward 10, Crossroads and To The Manor Born before settling in Emmerdale.

Colin Verrall AGSM (1943 – 2013)

Together with the violinist Marianne Olyver, he researched and performed rare music by the ‘lost’ 20th-century composers who suffered war, exile and genocide, including Franz Schreker, Mieczyslaw Weinberg, Erwin Schulhoff and Hans Gal. Their project, ‘Postcards from Europe’, continues (www.postcardsfromeurope.com).

his kindness; he was always on the side of the members of his section. His great love was chamber music and in his later years he had his own quartet.

Colin leaves behind a wife, two sons and six grandsons. He was loved and will be missed by many.

Susan Verrall née Cawkwell AGSM (Violin 1965)

Notices Wendy Bacon d. 2013 (Voice/Piano 1953) Michael Holland d. 2013 (Supporter of Pixie Holland Music Therapy Bursary) Patricia Kalvis nee George 1930 – 2013 (Speech & Drama 1950)

Jane Havell

Jeffrey Perry 1948 – 2012 (Speech & Drama 1970)

Richard Thorp (1932 – 2013)

Phyllis Rosenthal c. 2013 (Supporter of the Harold Rosenthal Prize)

Colin became a student at the Saturday morning Guildhall Junior Exhibitioners’ School at an early age and studied with Max Morgan, going on to study for his AGSM with Eli Goren in 1961 as a fulltime student. Colin led the Junior Exhibitioners’ Orchestra and when he became a full-time Guildhall School student he led the Second Orchestra and subsequently became leader of the First Orchestra, learning much from Paul Beard who frequently sat with him.

Actor Richard Thorp, Alan Turner on Emmerdale for more than 30 years, has died at the age of 81.

Richard had been the longest-serving cast member on the ITV soap opera, having made his first appearance on 23 March 1982. His character started out in the show as the hard-drinking, womanising and bullying manager of Home Farm. But he mellowed over the years, going on to be landlord of the Woolpack pub and open a B&B. He began his working life as an advertising copywriter for his father’s shoe business, but his childhood ambition for the stage won through when he enrolled at the Guildhall School.

In 1964, he won the Worshipful Company of Musicians’ Silver Medal. He also won numerous prizes and scholarships during his years at the School.

While still attending the Guildhall School, Colin began playing as an extra in all the major London orchestras, becoming a full time violinist in 1965 with the BBC Symphony Orchestra. In 1968, he accepted the Principal 2nd Violin position with the Bournemouth Symphony Orchestra where he remained until illness stopped him playing in 2007. Within the Bournemouth Symphony Orchestra he was very respected for his professionalism, his musicianship and

Stay in touch Guildhall School of Music & Drama Silk Street, Barbican, London EC2Y 8DT Tel: +44 (0)20 7628 2571 Fax: +44 (0)20 7256 9438 www.gsmd.ac.uk Guildhall School News Email: editorial@gsmd.ac.uk Alumni Office Email: alumni@gsmd.ac.uk Tel: +44 (0)20 7382 2325 Development Office Email: development@gsmd.ac.uk Tel: +44 (0)20 7382 7179 Photo Credits Matthew Andrews, Clive Barda, Samantha Crawford, Lisa Evans, Hugo Glendinning, Gareth Higgins, Nick Jones, Julia Lazarus, Gerald Place, James Rowbotham, Susana Sanroman, Clive Totman, Morley von Sternberg, Robert Workman

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TakeYour Seat An exceptional opportunity to put your name on the City’s newest performance venue Be a part of the Guildhall School’s exciting new building at Milton Court, opening later this year, and take a leading role by naming a seat in the Concert Hall or Theatre. Your donation will help provide the very best facilities for future generations of young artists.

Seats are available from £300 with engraved plaque.

Further information: www.gsmd.ac.uk/takeyourseat or contact us: 020 7382 7179 or development@gsmd.ac.uk