Guildhall School prospectus

Guildhall School Guide for prospective students

Acting | Music | Technical Theatre

www.gsmd.ac.uk

Prepare for Peak Performance...

This guide was published in May 2012 and is intended to provide general information only concerning the Guildhall School of Music & Drama. Full and up-to-date details on all programmes and services are available on the School’s website: www.gsmd.ac.uk The School aims to promote equality of opportunity through educational provision so that no student or prospective student receives less favourable treatment than another on the grounds of age, gender, marital status, colour, ethnic origin, sexual orientation, disability, political or religious belief.

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Acting

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www.gsmd.ac.uk/acting

Music

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www.gsmd.ac.uk/music

Technical Theatre

www.gsmd.ac.uk/technical_theatre

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Distinctive excellence...

The modern Guildhall School is distinctive in being the only major European conservatoire which is both a music school and a drama school, and one which is pre-eminent in technical theatre, professional development and music therapy.

The reputation of the teaching, and increasingly the research, across all disciplines in the School is unrivalled. Students experience working in a professional context to professional standards with an exemplary pool of outstanding artists who work with us as directors, conductors, coaches and tutors. The School’s alumni consistently succeed at the highest levels of their chosen profession.

New or recently refurbished state-of-the-art facilities, including two concert halls, three theatres, spacious practice, teaching and living spaces, support and enhance the unique Guildhall experience.

For over 130 years, the Guildhall School has stood as a vibrant showcase of the City of London’s commitment to education and the arts. Situated in the heart of the City, the School moved to its present premises in the Barbican in 1977, solidifying a unique link with both Europe’s largest arts and conference centre, including the Barbican Hall and the Pit Theatre, and the world-class London Symphony Orchestra: an alliance now recognised as a leading international centre for performance, training and education in the performing and visual arts.

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The Guildhall School’s Campus is London and beyond...

The Guildhall School enjoys a location in the very heart of one of the most exciting cities in the world. Make the most of your training by taking advantage of the wealth of opportunities surrounding you.

Next door to the Silk Street building is the Barbican Arts Centre with its theatres, cinemas, concert hall, library and art gallery, home to such institutions as the London Symphony Orchestra and the BBC Symphony Orchestra. The Guildhall School is also within easy distance of the West End theatres, the Royal Festival Hall, National Theatre on the South Bank, the Globe Theatre, Tate Modern and all the major galleries.

There is an abundance of free entertainment on offer in London and, as a student, you are entitled to concessions on virtually all entertainment tickets, plus discounts in many shops and restaurants as well as major exclusive discounts on important items such as Tube and bus travel.

You are a short train-ride or flight away from Europe and all the riches of those continental cities.

The Guildhall School comprises approximately 366,000 square feet over four neighbouring buildings which are continually updated and enhanced. From 2013, the School will boast five major public performance venues equipped to showcase the work of its students.

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Exciting new facilities The Silk Street building was purpose-built in 1977 and is attached to the Barbican Centre. Facilities in this venue include a 196-seat Music Hall, 80-seat Lecture Recital Room, and a 308-seat Theatre, all of which are open to the public. In addition, there is a Studio Theatre, 41 teaching/practice rooms, electronic music studios, recording and sound studios, the Students’ Common Room and IT facilities.

Milton Court, which opens in 2013, is virtually across the road from the Silk Street building. It will house additional world-class performance facilities: a 608-seat concert hall, a 227-seat training theatre, a studio theatre, 3 major rehearsal rooms, a TV studio suite, and space for teaching, office and support services.

All the spaces in Milton Court have been built to exceptionally high specifications and utilise state-of-the-art, professional standard technical facilities.

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The location of the School within ‘ the City of London and being close to

London’s thriving theatre life (not least, through our ties with the Barbican Centre) is a great advantage, especially as an international student looking to begin my career in the UK.

’

Karin Singh, BA Technical Theatre Arts

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Life at the Guildhall School

Student Affairs

Library

The Student Affairs team is committed to the

The Library aims to provide students with a comfortable,

general well-being of the students and in helping

supportive and welcoming environment. Its staff all

them fulfil their potential during their time at the

have a specialist knowledge of, and an interest in, music

School. It provides a supportive environment to assist

or drama. Lending facilities include books on music,

students in making the most of their student life and

theatre, drama criticism, stagecraft, costume, and

offers a valued and comprehensive range of support

music therapy. There is also a comprehensive collection

services designed to meet their academic and welfare

of plays, poetry, scores, sets of chamber music parts,

needs. Services include provision of counselling

and CD and DVDs. E-resources including New Grove

support, health and welfare advice, physiotherapy,

Online, RILM, RISM, RIPM, Music Index, the Performing

disability support (including learning support for

Arts Online, Credo Reference, JSTOR, the Encyclopedia

dyslexic students), English for speakers of other

Britannica and the Catalogue of Printed Music are also

languages, financial advice, accommodation and

available for searching. The Guildhall School was the

international student support. The office is situated in

first conservatoire in the UK to offer its students and

the School’s hall of residence, Sundial Court.

staff access to both Naxos and Classical Music Library web-streaming services, via state-of-the-art audio terminals in the Library.

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IT Facilities

Accommodation

The School’s Information Technology department’s

Sundial Court, the School’s hall of residence, is

core purpose is to provide up-to-date and reliable

located in Chiswell Street, just around the corner

computing resources, empowering the Guildhall

from the main Silk Street building. Sundial Court

School community to make effective use of

has 177 bedrooms in thirty-nine flats, each with

technologies. The main IT area in the Students’

either three, four, five or six bedrooms.

Common Room provides a number of PCs and A3 colour printer-photocopiers for use by students, all of which are linked to the School’s file and mail servers.

Additional facilities are also available throughout the School. Wireless access points are situated around the School and there is a wired network in the Sundial Court hall of residence.

Local amenities, including supermarkets, bars, restaurants and sports facilities are all within easy walking distance. Two underground stations are within minutes of the residence. Underneath the accommodation is the Basement, which houses the School Bar, a self-serve laundry, practice rooms and a communal television room.

Studio Resources The Guildhall School’s recording studio incorporates an advanced industry standard Pro Tools recording and production system, complemented by a comprehensive microphone collection. The studio itself houses a Steinway B piano recently refurbished and specially voiced for the studio, and can accommodate small to medium-sized chamber, jazz and contemporary ensembles. It is used for workshops, demo sessions, portfolio recordings, radio drama work and CD production to fully professional standards. There is also provision for producing

Sundial Court

demo DVDs, both in the recording studio and in the performance spaces.

Students’ Union

Security is provided 24 hours per day, 7 days per week.

With only 177 rooms, it is not possible to offer a place at Sundial Court to every student. However,

The Guildhall School Students’ Union actively

every attempt is made to provide accommodation for

represents students throughout their time at the

first year undergraduate students. All those offered a

School. Led by a full-time President, elected annually,

place at the Guildhall School are welcome to apply.

the Union acts as a channel of communication between the student and staff bodies. In addition, the Union acts as a point of contact between students and relevant external bodies. From its office in the School, the Union offers advice on a wide range of topics, and can provide useful

Further information on halls of residence, hostels and external accommodation, including details of private lodgings, rooms to rent in shared houses and details of local letting agencies, may be obtained from the Student Life Officer.

information on the Guildhall, its surrounding area,

Full details about Sundial Court and external

and student life.

accommodation options will be sent out to students once they have been offered a place at the Guildhall School.

To find out more visit www.gsmd.ac.uk 9

Acting The Guildhall School is a lively, friendly community of actors, theatre technicians and musicians; the Acting Department itself is intimate and supportive.

The training programmes are highly regarded in the

The School has excellent performance facilities.

acting profession for the thoroughness of their

Productions take place in its 308-seat theatre. The

audition processes, the passion, quality and rigour

Drama Department also arranges performances

of the teaching, the emphasis on the integration of

at other London theatres, including the Pit at the

craft training, the care and attention for the individual

Barbican Centre, the Bridewell (off Fleet Street),

development of each student, and the strong ensemble

the Soho Theatre, the Comedy Theatre, the Swan

ethic shared by staff and students.

(Stratford) and the Royal Court. From 2013, two new additional theatres at Milton Court, the School’s

The main programme is the BA Honours Degree

new building, will be available exclusively for drama

in Acting. This well-established programme has a

productions.

distinguished list of graduates, especially in recent years (see page 20).

The Department also runs two Drama Summer Schools: Acting in Shakespeare and Contemporary

There is also a full-time three-year MA in Acting programme, specifically designed for students who already hold an undergraduate degree and wish to

Theatre, and Acting in Musical Theatre. Each course is three weeks in duration.

have a full, professional training in acting. They work

The School is a partner in École des Écoles, a

alongside students on the BA in Acting programme,

confederation of all the major European drama

with additional assignments appropriate to a Master’s

schools and is a co-organiser of Prima del Teatro, a

programme.

3-week international festival of acting workshops which takes place in Italy every summer.

In addition, the MA in Training Actors (Voice) or (Movement) is available. This is a two-year, part-time programme designed to train a small cohort of voice and movement teachers to work in the acting profession.

‘I had a great time at Guildhall and my training set me in really good stead as an actor.’

Ewan McGregor, Acting 1992

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The course is intense and ‘ demanding but so exciting. The

teachers are absolutely world-class – they have a wealth of experience and skill to draw upon.

’

Paapa Essiedu, BA Acting 12 To find out more visit www.gsmd.ac.uk

BA (Honours) Degree in Acting MA in Acting The acting programmes are for those who

Biographies of some of the teachers are available on

intend to become professional actors. They offer

the School’s website: www.gsmd.ac.uk/acting

intensive vocational training in the practical craft of acting and are different in structure and approach from most university programmes in

Graduates from the programmes have an excellent record of professional work (see pages 19 to 22).

Drama or Performing Arts.

Key Facts

Both programmes lay the foundation for a lifetime

• 3 years (full-time)

development in the art and profession of acting. They

• 26 students in each year (78 students across the programmes)

aim to produce actors who are flexible and versatile, able to move with confidence between classical and modern theatre, film, television and radio.

• 30 part-time and full-time staff, plus visiting directors

There is a generous staff-student ratio, an enormous

• 2,300 applications/26 places

number of contact hours and a very low drop-out rate.

During their training students are able to work with

Applicants are advised to apply as early

many teachers and directors. Staff are chosen to

as possible.

complement and contrast with each other; their

The programmes are constantly evolving, merging the

approaches may vary but they share a common

traditions of a classical training with the demands of the

purpose. Together they help each actor and each

profession in the twenty-first century.

group to define, develop and use the processes which are most useful to them.

Good actors must have the means, the intelligence and the need to communicate their understanding of

All the teaching and directing staff have extensive

life to an audience. Through all areas of the training

experience of professional theatre, film, television or

we encourage our students to be enquiring artists

radio, as directors, actors and teachers. They work

who can develop their own ideas and communicate

as a strongly committed team, while maintaining

them through whatever material they are offered.

regular contact with the profession. Some work in the theatre, including the National Theatre, the Royal Shakespeare Company, Shakespeare’s Globe and the West End. Some work in film, television and radio.

Many work internationally, and guest teachers from abroad are sometimes invited to work here.

We have a strong belief in individual actors working to strength within the context of an ensemble. We work in a collaborative atmosphere and encourage actors to connect emotion, intellect, spirituality and physical skills in all that they do.

To find out more visit www.gsmd.ac.uk 13

BA (Hons) in Acting Years 1 and 2

Movement studies cover pure movement, movement

The first two years are training years, when you

improvisation (including animal studies and mask

concentrate on acquiring the skills you need as

work), period dance and 20th-century dance,

professional actors. The time is divided between

showdance, acrobatics and stage combat.

classwork and rehearsal projects when you work on

Theatre background introduces a wide range of plays

a play text, applying the skills learnt in class to a wide

in their historical context.

variety of plays, as well as radio and TV work. Both classwork and rehearsal projects focus on developing and integrating four main areas of study: acting, voice, movement and playtexts.

Year 3 By the third year, you should be technically proficient vocally and physically, and have developed your

Acting studies include stagecraft, improvisation,

own working processes. Most of your time is

games and story-telling, mime, circus and physical

spent rehearsing and performing to the public and

theatre. As the training progresses, classes in radio

to potential employers. You usually work on six

and television work are added, using the School’s

productions, playing a wide variety of roles in plays of

own equipment and radio studio.

varying styles, working with several different directors.

Voice studies cover voice and speech classes, poetry

There are also sessions to prepare you for the acting

and prose, singing, phonetics, dialects and a great

profession, as well as audition showcases regularly

deal of work on language, including Shakespeare.

attended by agents, theatre and casting directors.

MA in Acting This is a three-year full-time programme designed

MA students have the same practical training as

for students who hold a university degree and wish

the BA students. They take additional modules

to have a full professional training in acting. The

developing their critical and reflective skills and

MA students work in the same classes, rehearsals

are required to achieve more demanding learning

and performances as the students on the three-year

outcomes and a higher standard overall.

BA in Acting with additional tutorials in support of achieving the Master’s level outcomes. Entrance is by audition. At the point of audition, no distinction is made between applicants to the BA and the MA. Once a graduate applicant has received an offer, he or she can opt to follow either the MA or the BA programme. There are normally over 2,300 applicants for a total of about 26 places on the combined programmes.

For a summary of these programmes, please see the website: www.gsmd.ac.uk/acting

14 To find out more visit www.gsmd.ac.uk

from the audition, the tutors ‘Right led me to trust that my craft and

creativity would be nurtured here. The knowledge and techniques I have learnt at Guildhall will allow me to tackle any role with conviction and truth.

’

Kae Yukawa, BA Acting

To find out more visit www.gsmd.ac.uk 15

16 To find out more visit www.gsmd.ac.uk

Recent drama productions Summer 2012

Summer 2010

• Chaplin (musical) (music by Roger Anderson, lyrics by Lee Goldsmith, book by Ernest Kinoy) dir. Martin Connor

• Curtains (musical) (music by John Kander, lyrics

by Fred Ebb, book by Rupert Holmes, original book and concept by Peter Stone) dir. Martin Connor

• Lysistrata (Aristophanes) dir. Owen Horsley

• Summerfolk (Maxim Gorky/Nick Dear) dir. Owen Lewis

Spring 2012

Spring 2010

• The Life & Adventures of Nicholas Nickleby Part One (adapted by David Edgar from the novel

by Charles Dickens) dir. Joseph Blatchley

• Tonight at 8.30 (Noël Coward) dir. Wyn Jones

• Jenufa (adapted by Timberlake Wertenbaker from the play Her Stepdaughter by Gabriela Preissová) dir. Sue Lefton • Les Liaisons Dangereuses (adapted by Christopher Hampton from the novel by Choderlos de Laclos) dir. Nick Bagnall

Autumn 2011 • …think only this of me… (devised) dir. Christian Burgess • Aces & Jacks (short plays by David Mamet) dir. Nadia Fall • The Women (Clare Boothe Luce) dir. Wyn Jones

Summer 2011

• When Five Years Pass (Federico Garcia Lorca) dir. Roberto Romei • Six Characters Looking for an Author (Luigi Pirandello/David Harrower) dir. Joseph Blatchley

Autumn 2009 • A Midsummer Night’s Dream (William Shakespeare) dir. Douglas Rintoul • Tipping the Velvet (by Amanda Whittington based on the novel by Sarah Waters) dir. Katharine Rogers • Don Juan in Soho (by Patrick Marber, after Molière) dir. Christian Burgess

Summer 2009

• Kiss Me Kate (musical) (music & lyrics by Cole Porter, book by Sam & Bella Spewak) dir. Martin Connor

• Damn Yankees (musical) (music & lyrics by Richard Adler & Jerry Ross, book by George Abbott & Douglass Wallop) dir. Martin Connor

• Richard III (William Shakespeare) dir. Patsy Rodenburg

• The Man Who (Peter Brook and Marie Hélène Estienne) dir. Owen Lewis

Spring 2011

Spring 2009

• The House of Atreus (adapted by Paul O’Mahony and Richard Twyman) dir. Richard Twyman

• Two Shakespearean Actors (Richard Nelson) dir. Douglas Rintoul

• The Blue Room (freely adapted from Arthur Schnitzler by David Hare) dir. Tom Daley

• Hard Times (Charles Dickens/Stephen Jeffreys) dir. Wyn Jones

• Dear Brutus (Sir James Barrie) dir. Wyn Jones

Autumn 2010 • Badenheim 1939 (adapted by Arnold Wesker from the novel by Aharon Appelfeld) dir. Christian Burgess • DNA (Dennis Kelly) dir. Owen Lewis • Festen (by David Eldridge after the DOGME film by Thomas Vinterberg, Mogens Rukov and Bohr Hansen) dir. Joseph Blatchley

• Unfinished Piece for Mechanical Piano (Alexandr Adabashian & Nikita Mikhalkov, based on Chekhov) dir. Joseph Blatchley

Autumn 2008 • Julius Caesar (William Shakespeare) dir. Richard Twyman • Lord of the Flies (William Golding/Nigel Williams) dir. Katharine Rogers • Stanley (Pam Gems) dir. Christian Burgess

To find out more visit www.gsmd.ac.uk 17

Joining the Acting Profession Preparing for the Profession In your final year you are given clear guidance on starting in the acting profession. There are regular talks, workshops and visits by regional theatre directors, agents, casting directors, income tax advisers and representatives from Equity (see below).

After training After graduating, some former students have started their own theatre companies, others are playing leading roles in the West End, at the Royal Shakespeare Company, the National Theatre and in regional theatres. Others feature in films and television dramas.

profession are involved as tutors in your final year,

See the website for biographies of some of our graduates.

advising you on preparation for the profession.

Through its close contacts with the profession the

Actors and actresses currently working in the

Audition showcases During the final year you prepare showcases of modern and classical speeches and scenes, which are attended by a large number of agents, directors and casting directors.

Equity membership Students who have the right to work in this country are eligible to become student members of British Actors’ Equity, the actors’ trade union, and will automatically be granted full membership on completion of their training.

18 To find out more visit www.gsmd.ac.uk

Drama Department is frequently able to recommend former students for specific work, and staff members are available to give advice.

Recent graduates’ work Company graduated July 2010 Tom Byam Shaw Michael in Les Parents Terribles dir. Chris Rolls (Trafalgar Studios)

Sophie Colquhoun Bonnie in Captain America: The First Avenger dir. Joe Johnston (Marvel Entertainment, film) Sinead in Dusters dir.

Christopher Baines (short film) Pip in Rev dir. Peter Cattaneo (BBC2 Big Talk Productions) Nikki in The IT Crowd dir. Graham Lineham (Channel 4 talkbackTHAMES) Jana in Thrills (BBC3 in progress)

Verity Jane Dearsley Princess Sophie Al Wahiri in Casualty (BBC)

Terry Doe Head Waiter in Racing Demon dir. Daniel Evans (Sheffield Crucible) Don Juan in Me & Juliet dir. Thom Southerland (Finborough Theatre)

Isabel Ellison Jana in Red Bud dir.

Jo McInnes (Royal Court) Catherine in The Children’s Hour dir. Ian Rickson (Comedy)

Freddie Fox King Louis XIII in The Three Musketeers dir.

Paul WS Anderson (film)

Head Boy in St Trinians II: The Legend Of Frittons Gold dir. Oliver Parker/ Barnaby Thompson (film) Tony Davenport in Cause Célèbre dir. Thea Sharrock (The Old Vic) Camille Chandebise in A Flea In Her Ear dir.

Richard Eyre (The Old Vic) Jamie in The Last 5 Years: The Musical dir. Christian Burgess (Barbican) Ratallack in The Shadow Line dir. Hugo Blick (BBC) Guy Thomas in This September dir. Giles Foster Peter Scabius in Any Human Heart dir. Michael Samuels (Channel 4) Marilyn in Worried About The Boy dir.

Julian Jarrold (BBC) Tom Savage in Miss Marple: Why Didn’t They Ask Evans dir. Nick Renton (ITV)

Henry Gilbert UK tour of Charley’s Aunt (Finborough Acting Ensemble)

Lily James Korrina in Clash of the Titans II dir. Jonathan Liebesman (film) Ella/Taylor in Vernon God Little dir. Ruffus Norris (The Young Vic) Poppy in Secret Diary of a Call Girl dir. Sam Donovan, Alex Garcia and Wayne Yip (Tiger Aspect ITV) Ethel in Just William dir. Paul Seed (BBC)

Fred Lancaster

Mark Stanley

Jack Thayer in Titanic: Steele vs Nature dir.

Richard Dale (Dangerous Productions, film)

Grimaldi in ‘Tis Pity She’s a Whore dir. Jonathan Munby (West Yorkshire Playhouse)

Jack in Silent Night dir. Helen Broughton (Theatre 503) Will in The Quicken Tree dir. Catrin Evans (Royal Botanic Garden Edinburgh) Caleb in Secret Diary of a Call Girl dir. Alex Garcia & Wayne Yip (Tiger Aspect)

Harry Lister Smith

Grenn in Game of Thrones dir. Brian Kirk, Alan Taylor (HBO) Recruit Standon in Captain America: The First Avenger dir. Joe Johnston (Marvel Entertainment, film)

Amy Strange Law and Order dir. Julian Holmes (Kudos for ITV)

Cornelius in Hamlet dir.

Paul Miller (Sheffield Crucible)

Casualty dir. Rebecca Gatward (BBC)

E20 dir. Michael Keillor (BBC)

Marene Vanholk

Patrick Osborne Domenico in The Borgias dir. Simon Cellan Jones (Showtime/Sky Atlantic) Ian in Accolade dir.

Blanche McIntyre (Finborough Theatre) Devil in The Soldier’s Tale conductor Martyn Brabbins (Barbican Concert Hall) The Mobius Strip written and performed by Patrick Osborne (Branoul Theatre, The Hague)

Nikesh Patel Ross in Disconnect dir.

Indhu Rubasingham (Royal Court) Macbeth dir. Michael Boyd, The Merchant of Venice dir. Rupert Goold and The Taming of the Shrew dir. Tim Crouch (RSC)

Silent Witness (BBC)

Eleanor Wyld Receptionist in Johnny English Reborn dir. Oliver Parker (Working Title, film) Marie in The Manual dir. Darren Paul Fisher (Britpack Films) Anne in The Deep Blue Sea dir. Sarah Esdaile (West Yorkshire Playhouse) Katy in Casualty dir.

Declan Eames (BBC)

Ashley Zhangazha King of France in King Lear (Donmar Warehouse/ UK Tour/BAM, New York) dir. Michael Grandage Legendre in Danton’s Death (National Theatre) dir. Michael Grandage Workshop on Phaedra’s Love (National Theatre Studio)

To find out more visit www.gsmd.ac.uk 19

Acting graduates include

Naveen Andrews 1990

Adrian Dunbar 1983

Lennie James 1988

Clive Rowe 1987

Hayley Atwell 2005

Daniel Evans 1994

Natasha Little 1994

Simon Russell Beale CBE 1983

Orlando Bloom 1999

Joseph Fiennes 1993

Scott Maslen 1998

Lesley Sharp 1982

Stephen Campbell Moore 1999

Mariah Gale 2003

Alistair McGowan 1989

Geraldine Somerville 1989

Daniel Craig 1991

Shirley Henderson 1986

Ewan McGregor 1992

David Thewlis 1984

Oliver Dimsdale 1999

Jocelyn Jee Esien 1997

Neil Morrissey 1983

Dominic West 1995

Michelle Dockery 2004

Rhys Ifans 1989

Fay Ripley 1990

Jodie Whittaker 2005

20 To find out more visit www.gsmd.ac.uk

Recent awards BAFTA Awards Alfred Molina – nominated for Best Supporting Actor in An Education, 2009

Lex Shrapnel – nominated for The Milton Shulman Award for Outstanding Newcomer for Henry IV part I, RSC at the Roundhouse, 2008

Jocelyn Jee Esien – nominated for Best Comedy Performance for Little Miss Jocelyn, 2007

Daniel Craig – winner of Best Actor for Casino Royale, 2007

Daniel Craig – nominated for Best Actor in Casino Royale, 2007

British Independent Film Awards Hayley Atwell – nominated for Best Supporting Actress for The Duchess, 2008

Critics’ Circle Awards Alfred Molina – nominated for Best Actor in a Supporting Role in An Education, 2010

David Thewlis – winner of the Richard Harris Award for Outstanding Contribution to British Film, 2008

Evening Standard Awards

Fox Foundation

Ewan McGregor – nominated for Best Actor for The Ghost, 2011

Jonathan Broadbent – in association with Bristol Old Vic, 2006

David Thewlis – nominated for the Peter Sellers Comedy Award for his performance in London Boulevard, 2011

Golden Globe Awards

Lesley Sharp – nominated for Best Actress for Harper Regan at the National Theatre Cottesloe, 2008 Michelle Dockery – nominated for The Milton Shulman Award for Outstanding Newcomer for Pygmalion at the Old Vic, 2008

Hayley Atwell – nominated for Best Performance by an Actress in a Mini-series or Motion Picture Made for Television for Pillars of the Earth, 2011 Naveen Andrews – nominated for Best Performance by an Actor in a Supporting Role in a Series, Mini–Series or Motion Picture Made for Television for Lost, 2006

‘ I knew I wanted to go to Guildhall the minute I walked down the corridor – there was something about the students, tutors and the whole atmosphere. Getting in was like winning the lottery.’

Michelle Dockery, Acting 2004

To find out more visit www.gsmd.ac.uk 21

Ian Charleson Award Natalie Dew – winner of 3rd prize for Celia in As You Like It (Curve, Leicester), 2011 Mariah Gale – Special Commendation for Celia in As You Like It (RSC, Courtyard, Stratford), 2011 Max Irons – nominated for Max Piccolomini in Wallenstein (Minerva, Chichester), 2011 Henry Pettigrew – nominated for Marcellus/Second Gravedigger in Hamlet (Donmar at Wyndham’s), 2011 Gwilym Lee – commendation for Oedipus (NT), 2009 Natalie Dew – nominated for Viola in Twelfth Night (Regent’s Park), 2008

Olivier Awards Andy Nyman – nominated for Best Entertainment, co-writer Ghost Stories at Duke of York’s Theatre, 2011 Andy Nyman – nominated for Best Entertainment for Derren Brown: Enigma written by Derren Brown and Andy Nyman (Adelphi Theatre), 2010 Alexander Hanson – nominated for Best Performance in a Supporting Role for Marguerite at the Theatre Royal Haymarket, 2008 Clive Rowe – nominated for Outstanding Achievement in an Affiliate Theatre for his performance in Mother Goose at Hackney Empire, 2008 Daniel Evans – Best Actor in a Musical for Sunday in the Park with George, 2007

Theatregoers’ Choice (Whatsonstage.com) Awards Simon Russell Beale – nominated for Best Actor in a Play for Deathtrap (Noël Coward) and London Assurance (NT), 2011 Stephen Campbell Moore – nominated for Best Supporting Actor in a Play for All My Sons (Apollo), 2011 Lesley Sharp – nominated for Best Actress in a Play in The Rise & Fall of Little Voice at the Vaudeville, 2010 Dominic West – nominated for Best Actor in a Play in Life is a Dream at the Donmar Warehouse, 2010 Hayley Atwell – nominated for Best Supporting Actress in a Play in A View from the Bridge at the Duke of York’s, 2010 Michelle Dockery – nominated for Best Supporting Actress in a Play in Burnt by the Sun at NT Lyttelton, 2010 Alexander Hanson – nominated for The Best Actor in a Musical in A Little Night Music at Menier Chocolate Factory & Garrick, 2010 Alistair McGowan – nominated for The Waldorf Best New Comedy (Writing) for Timing at the King’s Head, 2010 Lesley Sharp – nominated for The Spotlight Best Actress in a Play in Harper Regan at NT Cottesloe, 2009

Danielle Tarento – (Menier Chocolate Factory) – Outstanding Musical Production, 2007

Alexander Hanson – nominated for Best Supporting Actor in a Musical in Marguerite at the Theatre Royal Haymarket, 2009

Ewan McGregor – nominated for Best Actor in a Musical for Guys and Dolls, 2006

Daniel Evans – nominated for Best Actor in a Musical for Sunday in the Park with George, 2007

Tony Awards

Alexander Hanson – nominated for Best Actor in a Musical for The Sound of Music, 2007

Daniel Evans – nominated for Best Performance by a Lead Actor in a Musical for Sunday in the Park with George, 2008

22 To find out more visit www.gsmd.ac.uk

Clive Rowe – nominated for Best Supporting Actor in a Musical for Caroline, or Change (NT), 2007 Danielle Tarento (Menier Chocolate Factory) – Best Off-West End Production for Sunday in the Park with George, 2007; Best Off-West End Production for Fully Committed, 2006

Throughout ‘the audition

process I felt excited, creatively challenged and ultimately inspired; and so far the course has done all that and more!

’

Nathalie Buscombe, MA Acting

Applying for the Acting programmes Students from a wide range of ages and backgrounds are selected on merit by audition.

Please see www.gsmd.ac.uk/acting for details of how to apply, and our audition process.

You are advised to apply as early as possible.

It is not necessary to have any previous acting experience.

You should normally be at least 18 years old when you begin your training. Most students are a few years older. There is no upper age limit.

To find out more visit www.gsmd.ac.uk 23

MA in Training Actors (Voice) or (Movement) This programme is designed to train voice and

in training. Contact time is approximately 20 hours

movement teachers to work in the acting profession.

per week, but it is not possible to predict in advance

It is a two-year part-time course, led by Patsy

when these hours will be. Students should, therefore,

Rodenburg (Head of Voice) and Wendy Allnutt (Head

have considerable flexibility in their arrangements to

of Movement), in association with professional

be able to gain the most from the programme.

theatre companies and leading drama schools.

Observation of classes and rehearsals is supported

Drawing on a long tradition of actor-training in the

by seminars and tutorials; research; development of

UK and abroad, this programme aims to develop a

the student’s own knowledge and skills; placement

new generation of theatre craft teachers to work

in a major theatre company and/or drama school.

with actors in training and in the profession. A

Students specialise in either Voice or Movement

maximum of four students (two for Voice and two

throughout the course. They follow an integrated

for Movement) is enrolled, each able to develop

modular programme, with emphasis on their chosen

their knowledge and skills under close guidance.

discipline within each module.

Students enjoy close links with the Acting Programme and with the professional theatre. At the core of the programme is intensive observation of actors

Guildhall offers ‘ a course unlike any

other drama school with one-to-one tuition, support, and unique training which enables you to accomplish the career that you dream of achieving.

’

Charlie Morgan, MA in Training Actors (Movement) 24 To find out more visit www.gsmd.ac.uk

Please visit www.gsmd.ac.uk/acting for further details of this programme, and how to apply.

Staff Director of Drama

Core teaching staff:

Christian Burgess AGSM FGS

Diana Devlin – Theatre Background

Director of Acting

Kate Godfrey – Voice & Speech

Wyn Jones FGS

Charmian Hoare – Voice & Speech

Head of Acting Studies

Danny McGrath – Movement

Martin Connor FGS

Kenneth Rea – Circus & Story-telling

Head of Voice Patsy Rodenburg OBE FGS

Head of Movement Wendy Allnutt DipCSSD FGS

Annemette Verspeak – Voice & Speech Emma Woodvine – Voice & Speech For a full list of teaching staff please visit the website: www.gsmd.ac.uk/acting

Head of Academic Studies (Drama) Eliot Shrimpton BA MA (Cantab)

Director of Creative Learning Sean Gregory MPhil BA(Hons) FGS LGSM (PCS)

To find out more visit www.gsmd.ac.uk 25

Music As a music student at the Guildhall School you will be joining a community of young artists at an institution which, for over 130 years, has been recognised for its excellence and innovation in performance training and whose many graduates occupy eminent roles within the profession.

You will work with some of the greatest international artists and renowned teachers in state-of-theart facilities situated at the heart of the world’s most culturally vibrant city. You will have unrivalled opportunities to perform in world-class venues throughout London and beyond.

In addition to developing your own artistic excellence, you will be working within a culture committed to enquiry and innovation, where time and space are given to experimentation, artistic communication and the discovery of new ideas.

Your time at the Guildhall School will provide you with the know-how, discipline and energy level required to achieve artistic excellence; you will be well grounded in both advanced techniques for new music and historically-informed interpretation, and you will develop clear career objectives together with the ambition, confidence and drive to achieve them.

Guildhall was the only ‘college I auditioned for.

With the help and guidance given to me, I was ready to embark on a professional career.

Bryn Terfel, Opera 1989

26 To find out more visit www.gsmd.ac.uk

’

To find out more visit www.gsmd.ac.uk 27

Studying Music at the Guildhall School One-to-one principal study lies at the heart of the learning experience at the Guildhall School.

Your individual tuition, underpinned by solo and

Advanced Instrumental Studies

chamber coaching, are central to all Guildhall School

This specialism is intended for students showing

programmes. The weekly lesson combined with

a high level of ability and musicianship with the

chamber/small ensemble coaching sessions are

potential for a career as a soloist or in chamber

enhanced by workshops and masterclasses given by

music. The expectation is that students who take this

many eminent visiting artists and ensembles.

pathway come with advanced instrumental ability

Collaboration with our immediate neighbours,

and musical understanding and also have a broad

the Barbican Centre and the London Symphony

understanding of repertoire for their instrument.

Orchestra, will not only give you year-round access to international artists, composers and conductors

Orchestral Training

but also the opportunity to perform in two of

The Orchestral Training specialism is designed to

London’s major performance spaces, the Barbican

develop core musicianship, so that principal study

Hall and LSO St Luke’s.

solo and chamber music are the cornerstones

From 2013, the state-of-the-art venues in the

from which orchestral playing develops. The

School’s own Milton Court including a new concert hall and two theatres will add to the School’s wealth of dedicated facilities.

Undergraduate A four-year programme leading to a Bachelor of Music degree with Honours is offered in the following principal study areas: Strings, Wind, Brass & Percussion, Keyboard, Vocal Studies, Composition, Electronic Music, and Jazz.

programme includes Centre for Orchestra, a unique collaboration between the Guildhall School, the London Symphony Orchestra and the Barbican Centre (see page 58).

Chamber Music The Chamber Music specialism is aimed at a small number of pre-existing groups who wish to hone their skills and develop their profile. Groups (with a minimum of three players) receive weekly coachings

See page 51 for details.

with principal study staff and also first preference

Postgraduate

(see page 41).

Postgraduate study options include two Masters level programmes – the MA in Music Therapy (see page 48) and the Guildhall Artist Masters programme (see page 53) – and a broad, practicebased doctoral research programme (see page 74).

The Guildhall Artist programme has three pathways, Composition, Leadership and Performance, and in the Performance pathway students can undertake one of a number of specialisms:

for coachings with visiting ensembles and artists

Opera course The Opera course has a very strong reputation and in 2007 won the Queen’s Anniversary Prize for the quality of its achievements and its innovative training programme. It offers advanced training for both vocal students and repetiteurs and aspires to work at a professional level over two years full-time.

Performance principal study specialisms are also available in vocal studies, historical performance, jazz and piano accompaniment.

28 To find out more visit www.gsmd.ac.uk

To find out more visit www.gsmd.ac.uk 29

The Guildhall School is renowned for ‘having a high level of teaching and so it

seemed the best place for me to continue my studies. London is a cosmopolitan city, so I have the opportunity to experience many different cultures which help broaden my artistic horizons.

’

Ella Rundle, BMus Cello 30 To find out more visit www.gsmd.ac.uk

Principal Study Strings Violin • Viola • Cello • Double Bass • Guitar • Harp • Lute • Viols Individual lessons and masterclasses • Chamber music • Orchestra • String Ensemble Principal Study lessons delivered by our eminent string professors are the central focus of study in the String Department. This training is further enhanced by a strong programme of chamber coaching and orchestral training. There are many opportunities to become involved in contemporary music and historically informed performance as well as innovative work in cross-arts performance.

Head of Department Louise Hopkins FGS AGSM

Deputy Head Evan Rothstein BM MM DocMus

Assistant Deputy Head Krzysztof Smietana FGS

Eugène Ysaÿe International Chair of Violin David Takeno FGS

Head of Chamber Music Alasdair Tait BMus PPRNCM

• Faculty Artist Series recitals by Louise Hopkins, Pierre Doumenge, Krzysztof Smietana and Alexander Baillie playing alongside senior students • Performances by senior student string quartets in Guildhall Artists at the Barbican, rush-hour concerts preceding LSO concerts on the Barbican stage • String players performing in Symphony, Chamber and Baroque Orchestra concerts, operas, and chamber music throughout the year.

Recent Student Successes Geminiani Quartet Winner of 1st Prize at the Alexander and Buono International String Competition Hikaru Mitsukawa (BMus Violin) Winner of 2nd Prize at the Munetsugu Angel Violin Competition in Nagoya, Japan Hannah Stone (MMus Harp) Winner of 2nd Prize in the Reinl Competition, Vienna

Alumni include Jennifer Pike (Violin 2009), soloist David Coucheron (Violin 2008), concertmaster of Atlanta Symphony Orchestra

Senior Tutor in Strings Chamber Music

Maxim Rysanov (Viola 2005), recipient of Classic FM/Gramophone Young Artist of the Year

Matthew Jones

Lawrence Power (Viola 1996), soloist

Historical Performance Studies See page 40.

Chamber Music Studies See page 41.

Recent Department Highlights • Masterclasses with Midori, Roman Simovic, Maria Radicheva, Arni Egilsson, Tabea Zimmerman, Alban Gerhardt, Graham Devine, Helga Storck, Isabelle Perin, Zvi Zeitlin, Marisa Robles, Bryn Lewis, Sherban Lupu, David Alberman, Miriam Fried, Gary Hoffman and Sioned Williams

Tom Norris (Violin/Viola 1993), Co-Principal 2nd Violin, London Symphony Orchestra Stephanie Gonley (Violin 1987), Leader of the English Chamber Orchestra Tasmin Little (Violin 1986), soloist Anthony Marwood (Violin 1986), soloist

Auditions, Open Days and Contact Information: www.gsmd.ac.uk/music

To find out more visit www.gsmd.ac.uk 31

School’s ‘Thereputation

of providing world-class tuition and support for every student has proved to be true – I have been supported every step of the way.

’

Ben Gernon, BMus Tuba

Wind, Brass and Percussion Flute • Oboe • Clarinet • Bassoon • Horn • Trumpet • Tenor & Bass Trombone • Tuba • Timpani & Percussion • Alto Saxophone • Recorders Individual lessons • Instrumental classes and masterclasses with visiting musicians • Chamber music • Orchestra • Orchestral repertoire sessions • Wind Ensembles • Brass ensembles • Contemporary Music • Percussion ensemble • Samba Band • Sax ensemble • Recorder consort

32 To find out more visit www.gsmd.ac.uk

The Wind, Brass & Percussion department provides top quality Principal Study coaching enhanced by a wide variety of performance opportunities. The emphasis is on the development of the student’s creativity and professional skills.

Head of Department Richard Benjafield GRNCM PPRNCM

Deputy Head of Department Jo Hensel BSc GGSM

Head of Chamber Music Alastair Tait BMus PPRNCM

Senior Tutor in Wind, Brass and Percussion Chamber Music Joy Farrall GGSM

Historical Performance Studies See page 40.

Chamber Music Studies

Recent Student Successes Sarah Brown (BMus Clarinet) and Mana Shibata (MMus Oboe) Selected for LSO Wind Academy 2011 Raymond Hearne (BMus Tuba) Winner of 1st Prize at the Newark Brass Festival Competition Liz O’Brien (BMus Bassoon) Winner of the McCullough Cup and RTÉ Lyric FM Award Joseph Ryan (BMus Horn) Winner of the Yamaha Brass Prize and Royal Dublin Society Music Award

Alumni include Philip Cobb (Trumpet 2009), London Symphony Orchestra, joint Principal Trumpet

See page 41.

Clare Robson (Flute 2006), Northern Sinfonia,

Recent Department Highlights

Angela Barnes (Horn 2005), London Symphony

• Visiting artists and masterclasses include soloists of the Berlin Philharmonic: Gabor Tarkovi (Trumpet), Stefan Schulz (Bass Trombone), Jonathan Kelly (Oboe); principal players of the London Symphony Orchestra: Rod Franks (Trumpet), Rachel Gough (Bassoon), Andrew Marriner (Clarinet); Mark Nuccio (Principal Clarinet, New York Philharmonic), Stefan Hoskuldsson (Principal Flute, New York Met Opera), Ron Barron (ex-Principal Trombone, Boston Philharmonic), Oystein Baaadsrik (Tuba)

Orchestra, 2nd Horn

• Audition masterclasses with LSO players for Woodwind, Brass and Percussion as part of Centre for Orchestra

Orchestra, Principal Clarinet

• The Geoffrey Gilbert Flute Room was opened in May 2009 in memory of former professor Geoffrey Gilbert who taught James Galway and William Bennett. The room houses Gilbert’s personal collection of music and scores.

Philharmonic Orchestra, Principal Flute

• Guildhall Brass Ensemble recording of Gilson’s La Fanfare Wagnerienne in a new performance edition

by Eric Crees is due for release in summer 2012

Orchestra, 4th Horn

• Concert series of performances by department ensembles include Kings Place, pre-LSO Guildhall Artists at the Barbican concerts in the Barbican Hall, Saxophone Ensemble’s UK cathedral series, performances in the BBC Symphony Orchestra Total Immersion days

Principal Flute

Elspeth Dutch (Horn 2002), City of Birmingham Symphony Orchestra, Principal Horn Alison Balsom (Trumpet 2001), international trumpet soloist and winner of Best Female Artist, Classical Brit Awards Joby Burgess (Percussion 2001), solo percussionist Chris Richards (Clarinet 2001), London Symphony

Cormac Henry (Flute 2000), Royal Liverpool

Gareth Davies (Flute 1994), London Symphony Orchestra, Principal Flute Sarah Willis (Horn 1990), Berlin Philharmonic

Auditions, Open Days and Contact Information www.gsmd.ac.uk/music

To find out more visit www.gsmd.ac.uk 33

Keyboard Piano • Fortepiano • Harpsichord

Faculty Artist Series recitals by Caroline Palmer,

Individual lessons and masterclasses • Keyboard skills • Performance and repertoire studies • Duo performance • Chamber Music

Charles Owen, Iain Burnside and Noriko Ogawa

This course is intended for keyboard players showing a high level of ability and musicianship with the potential for a career as a soloist or in chamber music. It includes

Senior pianists performing as soloists with Chamber and Symphony Orchestras, and on the Barbican stage preceding LSO concerts as part of Guildhall Artists at the Barbican

options for Chamber Music electives and dedicated

Recent Student Successes

courses in Accompaniment and Repetiteur Training.

Anna Cardona Esteva (Piano Accompaniment

Historical Performance Studies

Fellow) Winner of the Kathleen Ferrier Piano Accompanist Prize

See page 40.

Chamber Music Studies See page 41.

Head of Department Ronan O’Hora FGS FRNCM

Deputy Head of Department Pamela Lidiard MA FGS GGSM

Senior Professor Joan Havill FGS ARCM LRSM

Senior Professor in Vocal Accompaniment Graham Johnson FGS FRAM

International Chair in Piano Studies Richard Goode HonFGS

Visiting Professors Imogen Cooper FGS Paul Lewis FGS

Head of Chamber Music

Alexandra Dariescu (Piano Fellow) Winner of the Verbier Festival CUBS Piano Prize; Romanian Ambassador’s Award for Musical Achievement Martyna Jatkauskaite (Piano Fellow) Winner of 1st Prize in the Giorgos Thymis International Piano Competition James Kreiling (Piano Fellow) Winner of 2nd Prize in the British Contemporary Piano Competition Jennifer Lee (DMA Piano) Winner of the Maurice Ravel International Music Academy Prize Mishka Rushdie Momen (BMus Piano) Winner of 1st Prize in the Piano Section of the Tunbridge Wells International Young Artists Competition Ben Schoeman (MMA/DMA Piano) Winner of the Standard Bank Young Artist Award for Music South Africa Alexander Soares (Piano Fellow) Winner of 2nd Prize at the Beethoven Piano Society of Europe Competition; winner of 2nd Prize at the Brant International Piano Competition

Alastair Tait BMus PPRNCM

Dinis Sousa (BMus Piano) Winner of 1st Prize in the Santa Cecilia Piano Competition in Portugal

Senior Tutor in Keyboard Chamber Music

Grace Yeo (MMus Piano) Winner of 2nd Prize in

Caroline Palmer BMus

the Norah Sande Award

Recent Department Highlights

Alumni include

Recent masterclasses by Lang Lang, András Schiff,

Tom Poster (Piano 2004), Sa Chen (Piano 2001),

Richard Goode, Imogen Cooper, Simon Trpceski,

Paul Lewis (Piano 1994), Lucy Parham (Piano 1989)

Christian Blackshaw, Paul Lewis, Ronald Brautigam, Leon Fleisher, Aleksandar Madzar, Rolf Hind, Martin Katz

Auditions, Open Days and Contact Information www.gsmd.ac.uk/music

34 To find out more visit www.gsmd.ac.uk

to Guildhall because I wanted ‘I came to widen my experience in music in

London, the best city in the world for musicians. I’ve had amazing experiences of masterclasses with great musicians such as Dominique Merlet, Richard Goode and Paul Lewis.

’

Grace Yeo, MMus Piano

To find out more visit www.gsmd.ac.uk 35

to the Guildhall because ‘Iofcame the superb level of teaching.

The Vocal Department has a world class staff, whose dedication and passion inspire students to achieve their utmost potential.

’

Anna Anandarajah, BMus Vocal Studies 36 To find out more visit www.gsmd.ac.uk

Vocal Studies Individual lessons and masterclasses • Languages (German, Italian, French) • Song class • Light music/Music Theatre • Movement, speech and drama • Recitative • Oratorio • Opera Studies • Performance Projects

Ensemble performance series, City of London Festival & LSO St Luke’s recitals, new vocal music (‘Voiceworks’) projects at Wigmore Hall and The Forge, Henze Voices in the Barbican Hall (part of BBC Symphony Orchestra Total Immersion Day), Guildhall Consort performances, many Vocal Studies song repertoire concerts.

As well as Principal Study and individual coaching, the department provides training in French Mélodie,

Recent Student Successes

German Lieder, Italian aria, Russian, Spanish and

Kayleigh Anger (BMus Vocal Studies) Winner of the North London Music Festival Singing Competition

English repertoire, movement, language and song.

Other opportunities within the course include Opera Associates and Opera Ensemble.

Head of Department Linnhe Robertson MA BMus BA

Deputy Head of Vocal Studies Armin Zanner MA MPhil (Cantab) MMus

Vocal Performance Consultant Sarah Walker CBE FRCM FGS

Senior Professor in Vocal Accompaniment Graham Johnson FGS FRAM

Recent Department Highlights Masterclasses: Dame Kiri Te Kanawa, Christine Brewer, Susan Bullock, Sally Burgess, Sarah Connolly, Gerald Finley, Dame Emma Kirkby, Catherine Wyn-Rogers, Paolo Olmi, Graham Johnson, Edith Wiens, Anthony Legge, Graham Clark, Pamela Bullock, Peter Robinson, Malcolm Martineau, Amy Jarman, Susan Youens, Eugene Asti, Elijah Moshinsky, Martin Katz, Susan McCulloch, Rudolf Piernay, Laura Sarti, Susan Waters

Benjamin Appl (Postgraduate Vocal Studies) Winner of the Public’s Choice Award at the Das Lied Competition, Berlin Barbara Barradas (Postgraduate Vocal Studies) Winner of the Audience Prize, Concurso de Canto Lirico Fundacao Rotaria Portuguesa Keri Fuge (Postgraduate Vocal Studies) Winner of the Michael Oliver Prize at the Handel Singing Competition Susana Gaspar (Vocal Studies Fellow) Semi-finalist, BBC Radio 2 Kiri Prize; Winner of 1st Prize, Lieder Prize and Portuguese Song Prize, Concurso de Canto Lirico Fundacao Rotaria Portuguesa Martin Hässler (BMus Vocal Studies) Winner of 1st Prize at the Bundeswettbewerb Gesang Berlin; Winner of 2nd Prize at the Das Lied Competition, Berlin Mae Heydorn (Postgraduate Vocal Studies) Winner of the Schubert Competition Szymon Komosa (Postgraduate Vocal Studies) Selected to represent Poland in BBC Cardiff Singer of the World 2011

Performances include: Verdi Requiem, Stravinsky

Raphaela Papdakis (Postgraduate Vocal Studies) Winner of the Courtney-Kenny Award from the

Les Noces (LSO St Luke’s & French tour), Walton’s

Association of English Singers and Speakers

Belshazzar’s Feast, Mahler Symphony No. 2, Handel’s lecture recitals, Lads in their Hundreds performance

Auditions, Open Days and Contact Information

project by Iain Burnside, pre-LSO Guildhall Artists at

www.gsmd.ac.uk/music

Messiah (St Giles Cripplegate), Graham Johnson Lieder

the Barbican concert series in the Barbican Hall, Opera

To find out more visit www.gsmd.ac.uk 37

Opera Studies Opera Studies provides an intensive training for up

Repetiteur Training

to 24 singers and 4 student repetiteurs at any one

This is for excellent pianists and accomplished sight-

time. It offers an advanced level of vocal training

readers, with experience of accompanying singers

and aspires to work at a professional level over two

and some knowledge of the operatic repertoire.

years full-time.

The course is run from within the Opera Department

The course provides singing lessons, individual

and successful candidates will be fully committed to

coaching in roles and repertoire, acting and stage

the work of that Department.

techniques – movement, dance, make-up and

The course comprises accompanying opera production

drama language coaching, workshop productions

rehearsals, coaching singers on the Opera Course,

of scenes, fully staged public productions and

individual coaching, training in repetiteur techniques,

career guidance.

harpsichord tuition and experience of continuo

In addition to the vocal and dramatic training, the

playing, piano lessons and language coaching.

department mounts, in full collaboration with the Technical Theatre Department, three full public

Head of Department

productions each year and three programmes of

Dominic Wheeler BA(Cantab) ARCM(PG)

operatic excerpts in a workshop setting.

ARCO Hon ARAM

Resident Producer Martin Lloyd-Evans BSc (Hons) FGS

The quality of ‘ teachers is second

to none. I am thrilled with my teacher; every session confirms the decision to be here studying with him.

I also love living in London – it’s a wonderful city!

’

Charlie Mellor, MMus Opera Studies 38 To find out more visit www.gsmd.ac.uk

Recent Performances 2011 – 2012 Nicolai Die lustigen Weiber von Windsor Britten A Midsummer Night’s Dream and Rorem Our Town (European premiere)

Sky Ingram (Opera Course) Winner of the Lorna Viol Memorial Prize and ROSL Trophy for the most outstanding musician from overseas; Tait Memorial Scholarship for an Australian Musician Sophie Junker (Opera Course) Winner of the Handel Singing Competition

2010 – 2011

Eleanor Laugharne (Opera Course) Winner of the

De Almeida Spinalba

Maggie Teyte Prize and Miriam Licette Scholarship

Poulenc Dialogues des Carmélites Donizetti Rita and Tchaikovsky Iolanta

Amy J Payne (Opera Course) Winner of 2nd Prize, John Warner Memorial Award

2009 – 2010

Elena Sancho-Pereg (Opera Course) Winner of the

Donizetti L’assedio di Calais

International Singing Competition of Lograno, Spain

Massenet Chérubin Britten Albert Herring

Victor Sicard (Opera Course) Winner of 2nd Prize at the Jackdaws Vocal Awards; Winner of the 2nd

2008 – 2009

prize at the Oxford Lieder Young Artist Platform

Gluck La rencontre imprévue

Koji Terada (Opera Course) Winner of the

Sallinen The King Goes Forth to France

Clonter Opera Prize and Audience Prize

Martinu The Marriage (British stage premiere) and Rossini La cambiale di matrimonio

Alumni include

2007 – 2008

Kate Royal (Opera 2003)

Mozart Die Zauberflöte

Sally Matthews (Opera 2000)

Offenbach La vie parisienne

Mark Stone (Opera 1998)

Gounod La colombe and Rossini L’occasione

Toby Spence (Opera 1995)

fa il ladro

Roderick Williams (Opera 1995)

2006 – 2007

Bryn Terfel (Opera 1989)

Hindemith The Long Christmas Dinner and

Anne Sofie von Otter (Opera 1982)

Berkeley A Dinner Engagement Mozart Le nozze di Figaro R. Strauss Capriccio

Recent graduates won places at the highly-acclaimed National Opera Studio, Opera Studio Young Artist Programme at the Berlin Staatsoper, English National

2005 – 2006

Opera Young Artist Programme and the Jette Parker

Mozart La finta semplice

Young Artists Programme at the Royal Opera House.

Verdi Falstaff

Others secured roles with Opera Holland Park,

Puccini Gianni Schicchi and Il tabarro

Nuremberg Opera Studio, Clonter Opera, and Welsh National Opera.

Recent Student Successes Thelma King Award

Auditions, Open Days and Contact Information

Eva Ganizate (Opera Course) Winner of 1st Prize,

www.gsmd.ac.uk/music

Maire Flavin (Opera Course) Winner of the

John Warner Memorial Award; Winner of the Musique d’Ensemble Woodbrass Prize

To find out more visit www.gsmd.ac.uk 39

Historical Performance Historically Informed Performance offers students

Performances: Baroque Ensemble performance in

a solid basis for a sustained and rewarding career in

the London Handel Festival under the direction of

the music profession.

Adrian Butterfield; Recorder Consort performances at

The opportunity to study an historical instrument as a supporting study/elective through the BMus programme is available where appropriate. Many students find that a knowledge of traditions and techniques of the past can inform their performances of the future. This course is offered as a principal study at postgraduate level only.

King’s Place, London; Guildhall Consort conducted by Eamonn Dougan in programmes of Josquin, Victoria, Grieg, Purcell, Palestrina, in the Barbican Foyer; Monteverdi, Lotti and Gabrieli in St Martin-in-theFields; Robert Ramsey, Schubert in the Guildhall School Music Hall; devotional a cappella works by Giuseppe Verdi, Igor Stravinsky and Tomas Luis da Victoria at St Anne’s Lutheran Church; senior students performed

Head of Historical Performance

at Hatchlands Park using instruments from the Cobbe

Jane Booth BMus LRAM

Collection; performances by the Guildhall Baroque Orchestra under the direction of Pavlo Beznosiuk,

Recent Department Highlights

including a collaboration with the Royal Academy of

Masterclasses: Emma Kirkby (Voice), Rachel Podger

Music’s Becket Ensemble.

(Violin), Jill Severs (Harpsichord), Peter Whelan (baroque winds), Principal players from the OAE (ensembles)

Auditions, Open Days and Contact Information www.gsmd.ac.uk/music

40 To find out more visit www.gsmd.ac.uk

Chamber Music Chamber Music Studies is aimed at a small number

Performances: Lunchtime chamber and song series

of pre-existing groups who wish to hone their skills

at the City of London Festival, regular performances

and develop their profile. Groups can consist of any

before LSO concerts as part of Guildhall Artists at the

combination of three players or more with the group

Barbican, staff and student ensemble performances

receiving weekly coachings with Principal Study staff

in Faculty Artist Series

and also first preference for coachings with visiting ensembles and artists. Any group interested in this

Recent Student Successes

option should contact the Director of Music. This

Geminiani Quartet: Winner of 1st Prize at the

course is offered at postgraduate level only.

Alexander and Buono International String Competition

Head of Chamber Music Alasdair Tait BMus PPRNCM

Auditions, Open Days and Contact Information

Senior Tutor in Strings Chamber Music

www.gsmd.ac.uk/music

Matthew Jones

Senior Tutor in Wind, Brass and Percussion Chamber Music

Caroline Palmer BMus

Centre for Classical Improvisation and Creative Performance

Visiting Ensembles

The centre offers research, training, open workshops

International Chair in Quartet: Takรกcs Quartet

and performances related to classical improvisation

Resident Quartet: Belcea Quartet

and a creative approach to interpretation. Students

Joy Farrall GGSM

Senior Tutor in Keyboard Chamber Music

Visiting Quartet-in-Association: Endellion Quartet

Recent Department Highlights

study traditions of extemporisation such as improvised cadenzas, repeats and fantasias, while striving to enhance spontaneity and risk-taking in interpretation and performance. The head of the centre is David Dolan.

Masterclasses: Daniel Philips, Gary Hoffman, Isabel Charisius, David Alberman, Andras Keller

To find out more visit www.gsmd.ac.uk 41

Composition Individual lessons and masterclasses • Workshops • Techniques of Composition • Orchestration • Electronic Music • Analysis • Aesthetics

In addition to compositional activity, students

Undergraduate

programme which also offers a wide range of

The guiding principle which underpins this course is that composers should develop in collaboration with technically proficient and sympathetic instrumentalists, under the expert guidance of experienced practitioners. At the heart of the course is the workshop process, and we make a commitment to workshop every piece that students write.

Postgraduate The course is primarily practical and project-based

participate in compulsory modules in electronic music and writing for film and television. Composers can pursue these areas further within the elective supporting studies from performance, jazz and improvisation to analytical or historical research.

DMus in Composition See Research Degrees (page 74).

Visiting composers include George Benjamin, Alexander Goehr, James MacMillan, Jonathan Harvey, Judith Weir and Richard Ayres, while prominent publishers, copyists and administrators offer practical insights into the music business.

work, supported by weekly analytical and theoretical seminars.

amazing to ‘beIt’slearning from

some of the leading figures in the contemporary music scene, teachers who constantly inspire and who truly wish you to succeed.

Sylvia Lim, BMus Composition

42 To find out more visit www.gsmd.ac.uk

’

Electronic Music Individual lessons and masterclasses • Ensemble • Technical Seminars • Composition The Electronic Music Principal Study course embraces all areas of music technology whilst, at the same time, allowing students the freedom to pursue their studies from a compositional, production or performance bias.

The course is offered at undergraduate level only.

Composition and Electronic Music Head of Composition Julian Philips MA (Cantab) FGS

Recent Student Successes Francisco Coll (MMus Composition) Represented

Composer-in-Residence and

Spain in the UNESCO International Rostrum of

Professor of Composition

Composers with Piedras; appointed Composer in

Julian Anderson BMus (RCM) MPhil (Cantab)

Residence with the Jove Orquestra de la Generalitat

AM (Harvard)

Valenciana

Head of Electronic Music and Music Technology Mike Roberts MA

Raymond Yiu (DMus Composition) Winner of the British Composer Award for Chamber Work Northwest Wind

Recent Department Highlights

Alumni include

The School’s New Music Ensemble annually

Mica Levi (Composition 2009), Raisa Khan,

performs in the BBC Symphony Orchestra’s

Marc Pell (Electronic Music 2009) aka Micachu

Total Immersion composer days, recently: Brian

and the Shapes

Ferneyhough, Unsuk Chin and Peter Eotvos (2011).

In February 2011, Guildhall composition students Francisco Coll, Edmund Finnis and Marcus Barcham-

Tansy Davies (Composition 1998), composer and recipient of Paul Hamlyn Foundation Award

Stevens wrote ensemble pieces for the Ferneyhough

Dario Marianelli (Composition 1994),

day, later broadcast on BBC Radio 3.

Oscar-winning film composer

Voiceworks – AHRC Funded Research Project

Thomas Adès (Composition 1989), composer,

with the Contemporary Poetics Research Centre,

conductor and pianist

Birkbeck College, resulting in annual performances

Debbie Wiseman MBE FGS (Composition 1984),

at the Wigmore Hall, streamed live on www.voiceworks.org.uk.

film and television composer

collaborations: each year postgraduate composers

Auditions, Open Days and Contact Information

collaborate with dance school choreographers to

www.gsmd.ac.uk/music

London Contemporary Dance School

produce new works featured in a series of public performances at The Place.

Orchestral premieres by Guildhall composers Edmund Finnis, Ed Nesbitt and Francisco Coll featured in Guildhall Symphony concerts at the Barbican Hall.

To find out more visit www.gsmd.ac.uk 43

Out of all the music colleges, Guildhall ‘prepares you to be versatile and equips

you with skills to work in a variety of different contexts – I’m grabbing opportunities and perfecting my craft.

’

Lewis Daniel, BMus Jazz 44 To find out more visit www.gsmd.ac.uk

Jazz Saxophone • Trumpet • Trombone • Tuba • Piano • Guitar • Bass Guitar • Double Bass • Drums • Voice (other instruments by negotiation) Undergraduate Principal Study Jazz students benefit from a broad range of music study with a specialist focus on jazz. Whilst working within the framework of the four year BMus programme, this unique course develops skills within a wide range of musical fields.

Recent Department Highlights Annual performances in the London Jazz Festival: 2010 included a Guildhall Jazz Band performance with Jacqui Dankworth (vocals); the Guildhall School Jazz Festival: 2011’s festival included performances

by Guildhall jazz ensembles with Jim Hart, Michael Garrick, Eddie Provost and Stan Sulzmann Masterclasses with John Scofield, Mark Turner, Lincoln Center Jazz Orchestra Regular small band performances at the Vortex Jazz Club

Postgraduate

Annual collaboration with the Duke Ellington

This is an intensive course for a group of 15-20

Society UK

instrumentalists and singers who have already reached a high level of performance and are

Alumni include

preparing to enter the field as professionals.

Natalie Williams (Jazz Voice 2001)

The course is designed to train the whole musician

Stacey Kent (Jazz Voice 1991)

through an aural approach and a broad curriculum

Jason Rebello (Jazz Piano 1989)

to give students a solid foundation in performance,

Cleveland Watkiss (Jazz Voice 1988)

harmony, rhythm, improvisation, composition, arranging and studio recording.

Head of Jazz Martin Hathaway GGSM LGSM

Auditions, Open Days and Contact Information www.gsmd.ac.uk/music

To find out more visit www.gsmd.ac.uk 45

enjoy about the Leadership ‘What I most course is that it offers a real-life

experience close to that of a contemporary musician. It has the right balance of work and freedom, enabling you to explore your own personality as an artist.

’

Cris Van Beuren, MMus Leadership 46 To find out more visit www.gsmd.ac.uk

Leadership The Leadership pathway provides a unique

Recent Department Highlights

opportunity for professional artists to extend the

MAP-making (Music, Art and Performance), an

boundaries of performance practice and to explore

ongoing collaborative project with the Royal College

different creative processes and ways of learning

of Art: in 2010, participating students collaborated

in a practical research environment. Students are

over six months to produce a new work incorporating

encouraged to identify a personal pathway of

music, live electronics, moving image and live art,

professional development in artistic leadership,

which was performed at the Barbican’s Pit Theatre.

composition, performance and/or as a practising artist in a variety of artistic, cultural, community and educational settings.

Leadership students have worked for the education department of the London Philharmonic Orchestra at the South Bank Centre, running a series of family

The course includes work on improvisation, voice,

workshops based on the repertoire that the orchestra

body and percussion skills, exploration of non-

subsequently performs in a family concert.

European and folk-based approaches to arts practice, introduction to cross-arts collaboration, group composition, creative and repertoire-linked projects, performance and workshop-leading for different contexts.

Exceptional students on Part One of the Leadership pathway will also be given the opportunity to continue their studies into Part Two (Leadership Portfolio). Students undertake a portfolio of three substantial performance events as a Leader, Performer and Creator/Collaborator that are designed to strengthen their own artistic development in these three areas.

Director of Creative Learning Sean Gregory MPhil BA (Hons) FGS LGSM (PCS)

Programme Leaders Sigrun Saevarsdottir-Griffiths PGCert (PCS) Nell Catchpole BA (Hons) PGCert (PCS)

In 2010/11, several Leadership students travelled to Argentina for an intensive cross-cultural musical exchange.

Alumni include Detta Danford (Leadership 2008) has led projects in Singapore, Japan and The Netherlands and has worked with professional ensembles from the Gambia and Israel. UK work includes leading projects for Barbican/Guildhall School Creative Learning division, the London Philharmonic Orchestra and the Barbican Arts Centre. She currently co-leads a Creative Learning ensemble called Future Band. Made up of 30 young instrumentalists, the members of Future Band work on creating original pieces with strong international influences.

Auditions, Open Days and Contact Information www.gsmd.ac.uk/music

To find out more visit www.gsmd.ac.uk 47

Music Therapy This course leads to the MA in Music Therapy

It prepares students for employment in health,

validated by City University, London, and approved by

education, social and community service and the

the Health Professions Council (HPC).

voluntary sector. Graduates from the programme are

This two-year programme aims to realise the full potential of students’ individual musicianship and equip them with the clinical therapeutic knowledge and skills to qualify and work as registered music therapists. Students gain clinical experience with adults and children in a variety of settings including psychiatry, special education, learning disability and communication disorders.

The course is ‘stimulating and

inspiring and the Guildhall’s access to a wide variety of placements is providing me with invaluable experience and insight into different client groups.

’

Lucinda Gallant, MA Music Therapy

48 To find out more visit www.gsmd.ac.uk

eligible for HPC Registration and full membership of the professional association (APMT).

Head of Department Ann Sloboda BMus (Hons) (Oxon) PGDipMT

Auditions, Entrance Requirements, Open Days and Contact Information www.gsmd.ac.uk/music

To find out more visit www.gsmd.ac.uk 49

50 To find out more visit www.gsmd.ac.uk

Programmes of Study Undergraduate Key Facts

Year 3 and 4 choices include Advanced Keyboard

Bachelor of Music Honours Degree

Musicianship, Analysis, Arranging, Body Matters,

• 4 years (full-time) • 395 students/250 staff • 750 applicants/94 places The programme centres around one-to-one tuition with tutorial support. At least two-thirds of the programme is directly connected with Principal Study development,

Conducting, Counterpoint, History, Interpretation through Improvisation, Introduction to Music Therapy, Music Administration, Orchestration, Research Project, and others.

Students in Years 3 and 4 who achieve high results in Principal Study can also do Advanced Principal Study and Advanced Ensemble.

with a degree of flexibility in the remainder for students

Head of Music Programmes and

to create individual pathways via tutorial support and

Music Studies

electives offered by Music Studies and other modules

Alessandro Timossi FGS Diploma con Lode di

offered by Professional Development. The programme

Pianoforte Diploma di Merito Accademia Chigiana di

recognises the importance of individual practice, study

Siena Diploma con Lode di Composizione

and reflection.

Deputy Head of Department (Undergraduate) Claire Taylor-Jay BA(Hons) (Oxon) MMus PhD

Music Studies Each student develops essential general knowledge

Deputy Head of Department (Postgraduate) Kate Romano MPhil (Cantab) PhD

and skills, and has the opportunity to choose

Senior Postgraduate Tutor

individual areas of interest. The emphasis is on

Laura Roberts GGSM

promoting the integration of practical and theoretical aspects of music-making, and on supporting an incremental development in areas of particular individual interest and strength (Second Study, Conducting, Analysis, Jazz for non-jazz specialists, Electronic Music and others).

All students study Aural and Harmony up to a required level, and then have a choice of Analysis, Collaborative Skills, Composition, Electronic Music, History, Jazz, Keyboard Musicianship, and Second Study. Students are further supported through Tutorial Groups, meeting regularly with their individually assigned tutor both in groups and for one-to-ones.

To find out more visit www.gsmd.ac.uk 51

Professional Development As part of the BMus programme, the Professional Development Department works with students to increase their awareness of the professional world and equip them to be successful professional

Professional Studies (Years 3 & 4 BMus) Preparing students for their professional lives this module considers entrepreneurial skills, career planning, teaching skills, biography presentation, website development and other publicity materials.

practitioners. Students develop the full range of

The promotion of an external event is a compulsory

skills required to be a 21st-century musician. Work

part of the Year 4 Professional Studies module.

in this area is led by Creative Learning, a department the Barbican. This link enables students to meet and

Collaborative Skills/Workshop Skills (Optional Electives)

work first hand with leading arts practitioners in a

These modules seek to develop the wider musical

variety of contexts.

and collaborative skills that many musicians draw

involving staff from both the Guildhall School and

upon during their professional careers. Students have

Performance Matters (Year 1 BMus)

opportunities to undertake inter-disciplinary and

This module explores the broader skills needed by

cross-sector projects, using their musical skills in a

professional musicians. Areas investigated include health

wide variety of contexts.

and well-being, performance psychology, improvisation, collaboration and communication skills.

Director of Creative Learning Sean Gregory MPhil BA(Hons) FGS LGSM (PCS)

Programme Leader, Professional Pathways Robert Wells BA(Hons) MMus

52 To find out more visit www.gsmd.ac.uk

Postgraduate The Guildhall School offers one of the world’s

Part Two is very strongly focused on further

most innovative packages of postgraduate

developing Principal Study technical and artistic

study. Qualifications available include:

abilities, breadth of repertoire, creative output and

Guildhall Artist Programme • Performance (MMus, MPerf)* • Composition (MMus, MComp)* • Leadership (MMus, MLead)* MA in Music Therapy MPhil/DMus MPhil/PhD *PGDip available on completion of specified modules.

professional experience. Performances are supported by a series of seminars both of an inductive nature, and on specialist topics.

Guildhall Artist: Performance Pathway The Performance Pathway offers the following Professional Specialisms: Strings, Wind, Brass and Percussion Players: Advanced Instrumental Studies, Chamber Music and Orchestral Training

Guildhall Artist Programme

Keyboard Players: Advanced Instrumental Studies,

The Guildhall Artist Masters programme is offered in

Chamber Music and courses for Accompanists and

the three pathways of Performance, Composition and

Repetiteurs

Leadership and is in two parts: Part One is available in full-time (one year) or part-time (two years) modes

Singers: Vocal Studies and Opera

except for Leadership which is full-time only. Part Two

Historical Performance and Jazz musicians:

is available only in full-time mode (one year).

specific courses tailored to each area of

Part One: Successful completion of Part One meets all the criteria for a Masters level (level 7) award and a student may conclude their studies at this point and be awarded a Master of Music (or a Postgraduate Diploma, according to the modules taken). The programme builds on the student’s intense activities in Principal Study, offering in addition contextual studies and a wide range of elective opportunities including those offered by Music Studies and Professional Development.

specialist need

Guildhall Artist: Composition Pathway See page 42.

Guildhall Artist: Leadership Pathway See page 47.

MA in Music Therapy See page 48.

Students who decide to concentrate entirely on their Principal Study without taking the elective options, can be awarded the Postgraduate Diploma (PGDip) at successful completion of the year.

Doctoral programmes See Research details page 74.

Part Two: Available to students who pass Part One in full (with electives) and obtain the required level of achievement in Principal Study. Students successfully completing Part Two will be awarded a Master of Performance (Guildhall Artist), or Master of Composition (Guildhall Artist), or Master of Leadership (Guildhall Artist).

To find out more visit www.gsmd.ac.uk 53

Performance Opportunities Preparing you to be a professional performer is

possible) as well as being fully fitted out with the latest

the key focus of training at the School. You will

audio visual equipment.

be encouraged to take advantage of the many performance opportunities that exist both formally and informally within the School and outside.

The Gold Medal

In addition to opera and drama productions, there is a full programme of student concerts and recitals within the School. These events, which number over 100 every term, are generally open to the public. See www.gsmd.ac.uk/events for the current season listing.

The Guildhall School’s premier music prize was founded and endowed by Sir H. Dixon Kimber in 1915 and since the 1950s it has been open to singers and instrumentalists in alternate years. The final traditionally takes place in May each year in a sold-out Barbican Hall.

Previous winners include Jacqueline du Pré (1960), Tasmin Little (1986), and Bryn Terfel (1989).

In recent years, the Gold Medal has launched the

In London The School’s large ensembles give regular concerts in the Barbican Hall and LSO St Luke’s. There is also regular use of the Barbican’s Church of St Giles Cripplegate as a concert venue. Other performances are given in venues such as Kings Place, Bishopsgate Institute, St John’s Smith Square and St Martin-in-the-Fields.

careers of: Natalya Romaniw (soprano, 2011), Martyna

Outside Engagements

Jatkauskaite (piano, 2010), Gary Griffiths (baritone,

One of the most valuable opportunities for performance

2009), Sasha Grynyuk (piano, 2008), Katherine

experience is the School’s extensive programme of

Broderick (soprano, 2007) and Anna-Liisa Bezrodny

Outside Engagements. The engagements range from

(violin, 2006).

background music at company and corporate functions, music for wedding services, receptions and family

In the School Performance spaces include a Music Hall, the Silk Street Theatre, a smaller Lecture Recital Room and

occasions, to full recitals and concerto performances for music clubs and societies.

a performance space in the basement of the nearby

Music Ensembles

Hall of Residence, Sundial Court. Work has begun on

There is a vast array of Guildhall School ensembles

a new building, Milton Court, which will include a

from full symphony and chorus (including opera) to

610-seat concert hall and two theatres, due to open in

chamber and small ensemble. There are dedicated

Spring 2013.

ensembles for jazz, historical performance and new

The termly opera production takes place in the Silk Street Theatre, which offers particularly fine technical facilities.

The School is equipped with a large number of solo practice studios, medium size ensemble rooms, larger performance spaces and recording facilities.

Most rooms are equipped with pianos (grands where

music. In addition, students are encouraged to form their own ensembles.

Visiting Ensembles and Artists International Chair in Quartet: Takács Quartet Resident Quartet: Belcea Quartet Visiting Quartet-in-Association: Endellion Quartet

54 To find out more visit www.gsmd.ac.uk

Architect’s image of the new concert hall in Milton Court, opening in 2013

To find out more visit www.gsmd.ac.uk 55

Collaborative Programmes The Guildhall School has ongoing relationships and

An annual Guildhall Festival brings together

programmes with its many partners. They include:

students from all disciplines and offers an informal

London Symphony Orchestra

showcase for the creative talents of students

Philharmonia Orchestra

throughout the School.

BBC Symphony Orchestra Barbican Centre

European Exchange

Aldeburgh

The School participates in the European ERASMUS

London Contemporary Dance School

Exchange Programme in association with the British

Royal Academy of Music

Council. It is an internationally renowned programme

Royal College of Art

for exchange of staff and students between European

City of London Festival

conservatoires.

British Council

Please see the Erasmus page on our website, email

ECCO International

erasmus@gsmd.ac.uk, visit www.doremifasocrates.org

Wigmore Hall

or visit www.britishcouncil.org/erasmus for more

Kings Place

information.

Bishopsgate Institute

Cross-arts Collaborations One of the unique aspects of the School is the opportunity provided for cross-discipline collaboration with fellow students on the Acting and Technical Theatre programmes. All first year undergraduates from all art forms work together on a workshop project and all students right across the School are encouraged to

International Exchange The School also collaborates with Griffith University, Australia, the Banff Centre in Canada and the Peabody Institute enabling a small number of students to study abroad and experience different methods of teaching and learning, and a different culture.

work collaboratively across art forms to enrich their learning through the experience of other disciplines.

‘With its connection to one of

the world’s most important and vibrant arts centres, the Guildhall School provides a uniquely stimulating and rewarding environment in which musicians can develop and widen their musical experience.’

Paul Lewis, Piano 1994

56 To find out more visit www.gsmd.ac.uk

Senior Staff Director of Music

Head of Music Programmes

Jonathan Vaughan DipRCM(Perf) DipRCM(Teach)

Alessandro Timossi FGS Diploma con Lode di Pianoforte

Head of Advanced Performance Studies Ronan O’Hora FGS FRNCM

Head of Strings Louise Hopkins FGS AGSM

Head of Wind, Brass and Percussion Richard Benjafield GRNCM PPRNCM

Head of Keyboard Studies Ronan O’Hora FGS FRNCM

Head of Vocal Studies Linnhe Robertson MA BMus BA

Head of Opera Dominic Wheeler BA(Cantab) ARCM(PG) ARCO Hon ARAM

Director of Creative Learning Sean Gregory MPhil BA(Hons) FGS LGSM (PCS)

Diploma di Merito Accademia Chigiana di Siena Diploma con Lode di Composizione

Head of Composition Julian Philips MA(Cantab) FGS

Head of Electronic Music and Music Technology Mike Roberts MA

Head of Historical Performance Jane Booth BMus LRAM

Head of Jazz Martin Hathaway GGSM LGSM

Head of Music Therapy Ann Sloboda BMus(Hons) (Oxon) PGDipMT For a full list of teaching staff please visit the website: www.gsmd.ac.uk/music

Head of Chamber Music Alasdair Tait

BMus PPRNCM

To find out more visit www.gsmd.ac.uk 57

Centre for Orchestra life of the Guildhall School. Centre for Orchestra,

Centre for Orchestra focuses on the following core components:

launched in 2009, is a unique collaboration

Orchestral work: players in the Guildhall Symphony

between the London Symphony Orchestra, Guildhall

Orchestra receive individual and group sectionals plus

School and Barbican creating a forum in London

full ensemble coaching from LSO players in the lead-

for orchestral development in the 21st century.

up to a performance at the Barbican.

Ensemble training is a key element within the musical

Boulez described the Orchestra as an ‘ensemble of possibilities’, providing not only the opportunity to play core and new repertoire but the opportunity to challenge perceptions, challenge yourself and create new experiences.

Centre for Orchestra offers Guildhall School musicians unparalleled access to a world-class orchestra and international arts centre. The programme focuses on orchestral training, education and early career support in order to create the great orchestral musicians of the future.

Solo work: Masterclasses and workshops with LSO Principals, international soloists, composers and conductors are offered to develop performance technique and presentation.

Entering the profession: prepares students, their repertoire, and presentation for auditions and public performances. Students may attend LSO rehearsals, LSO concerts and an Orchestra Fair in order to get to know the inner workings of a professional orchestra.

The wider profession: orchestral musicians have to

Centre for Orchestra staff Gordan Nikolitch (LSO Leader) Roman Simovic (LSO Leader) David Alberman (LSO Principal Second Violin)

work in a range of contexts. This programme offers students the opportunity to experience new areas.

Chamber music: students have the opportunity to develop their chamber music performance through shadowing LSO performances and performing on

Tim Hugh (LSO Principal Cello)

stage at the Barbican in advance of LSO concerts.

Rinat Ibragimov (LSO Principal Double Bass)

Digital links: digital platforms link the School with

Gareth Davies (LSO Principal Flute)

other musical organisations across the globe allowing

Emanuel Abbühl (LSO Principal Oboe) Christine Pendrill (LSO Principal Cor Anglais) Andrew Marriner (LSO Principal Clarinet)

students to take part in debates with visiting soloists and conductors.

Other art forms: opportunities to explore and experiment with dance, spoken word, theatre and

Rachel Gough (LSO Principal Bassoon)

visual art at the Barbican Centre, and allow it to

David Pyatt (LSO Principal Horn)

inspire new directions in your musical performance.

Patrick Harrild (LSO Principal Tuba)

Research projects: what does it take to achieve and sustain a career as an orchestral musician? What new possibilities are there for orchestral musicians in the contemporary world?

For further information, or to request a Centre for Orchestra brochure, contact: music@gsmd.ac.uk

Supported by

58 To find out more visit www.gsmd.ac.uk

‘ This is what the musical world has been needing. ’ Sir Colin Davis, President, London Symphony Orchestra

LSO Conducting Masterclass © Kevin Leighton

To find out more visit www.gsmd.ac.uk 59

Technical Theatre The Technical Theatre programme at the Guildhall School has long been recognised as providing some of the most innovative vocational theatre training in the UK and beyond. With the opening of the Milton Court development in the spring of 2013, the School will boast the best resources in the country, and amongst the best in the world.

The teaching is practical and production based; you will work on public productions with professional directors, designers and conductors participating in the creation of acclaimed dramas, musicals and operas.

The Guildhall School has five professionally equipped performance venues, state-of-the-art equipment and professional production values. These allow the programme to keep completely in line with current

Key Facts BA Honours Degree in Technical Theatre Arts • 3 years (full-time)

practice and new theatre technology. You will use the

• 108 students across the programme

School’s on-site theatres, rehearsal rooms, workshops

• 24 full-time staff

and costume department to collaborate in the

• 130 applications/36 places

production of 15 major dramas and operas each year together with a range of smaller projects and events.

Visit www.gsmd.ac.uk/technical_theatre for details

The syllabus has been designed to involve you

of open days and how to apply. Please note that

completely in the complex art of theatre; bringing

places are offered throughout the year so early

together writers, designers, actors, musicians,

applications are advised.

composers, choreographers, technicians and

This programme is accredited by Drama UK

administrators to create a production. Your training

(previously the National Council for Drama Training).

will provide you with a firm practical knowledge of theatre crafts and managerial skills and prepare you for a professional life in the theatre. This programme has delivered an excellent record of graduate success in theatre, film, television and related industries.

60 To find out more visit www.gsmd.ac.uk

To find out more visit www.gsmd.ac.uk 61

What I enjoy the most about ‘ studying at the Guildhall School is the

excellent yet approachable teachers.

I am constantly told by industry professionals what a good reputation the Guildhall School holds which makes me feel truly privileged to study here.

’

Lena Slettemo Carlsson, BA Technical Theatre Arts 62 To find out more visit www.gsmd.ac.uk

Programme Description We strongly believe that your training should suit

Year 2

your own career aims. For this reason students

From the second year onwards students are totally

select one of three Pathways, each with a different

immersed in the Guildhall’s extraordinary productions,

emphasis:

working alongside professional directors and

• Stage & Costume Management • Theatre Technology (Sound, Lighting and Stage Technology)

• Design Realisation (Scenic Construction, Props and Scene Painting)

designers on a full-time basis.

Year 3 The final year provides you with true exposure to professional theatre and the opportunity to make contacts that will be essential to your future career.

All students undertake leading roles in their chosen

Within each Pathway it is possible to study elements

fields and may have the opportunity to lead the

of the other two, so for example if you want to learn

whole team by taking on a Production Management

about props and scenery construction, but retain an

role. Students also complete a Graduation Project

interest in lighting you can choose accordingly, or if

presented either as a portfolio or a written paper,

you are interested in stage management, but still want

and a period of outside work experience through

to gain some experience in sound, that’s fine too.

a secondment to a professional company or

Of course, if you prefer to dedicate the bulk of

practitioner.

your study to a particular area you can do that. The

Throughout the programme students are

course is flexible enough to allow for a wide range of

encouraged to engage with actors, singers and

interests or a more specialised approach.

musicians from other programmes to generate their own projects. Key areas of development throughout

Year 1

the programme which are essential for employment

The first year of the programme brings all students to

include:

the same threshold of knowledge. In addition to your

• Learning to be part of the team of technicians, actors, singers and musicians working alongside professional directors, designers and conductors and participating in the creation and public performance of acclaimed dramas, musicals and operas.

chosen Pathway classes, you study a broad range of core subjects including: Theatre History, Period Style, Contemporary Theatre, Health & Safety, and Stagecraft & Production Process. Classes are usually project based and wherever possible have a handson, practical approach. For example, when studying trends in contemporary theatre we’ll take you to see a wide range of shows, many of them leading international productions at the world-famous Barbican Centre, with whom we maintain a close working relationship. When we’re looking at period

• Using Information Technology in planning, managing and achieving productions. You will develop transferable skills in the latest office software as well as using specialist packages in many departments.

• Detailed knowledge of current developments in the theatre industry.

styles we’ll take you to galleries and museums to look at examples.

In this year you will also take a core module called Associated Studies, which allows you to take three short courses in areas of technical theatre from one of the other two Pathways.

To find out more visit www.gsmd.ac.uk 63

Stage and Costume Management Pathway Stage Managers are gregarious, outgoing and

professional standard. Interestingly these are exactly

thoroughly organised people. As a Stage Manager

the skills you will need in the closely related area of

your ‘people skills’ are essential as you need to

Costume Management. In each year you will develop

understand and work with actors, directors, designers

your skills across both areas, and by the final year you

and all the technical departments in the theatre.

will be able to negotiate just how much you want to

In this pathway you will learn about organising

specialise.

rehearsals and performances to a completely

Design Realisation Pathway Design Realisation is about making and painting the

solving abilities. In each year you will develop your

scenery and props that have been designed by the

skills across prop making, scenery construction

set designer. Students following this pathway have

and scenic art; by the final year you will be able to

good creative and practical skills with strong problem

negotiate just how much you want to specialise.

Theatre Technology Pathway In the Theatre Technology Pathway you will learn

just how much you want to specialise as you

about Lighting, Sound, Projection and Stage

take a leading role in productions to a completely

Technology. In each year you will develop these skills

professional standard.

and by the final year you will be able to negotiate

‘ The training on the Technical Theatre course is unrivalled in London…I value the opportunity I had to train there enormously.’

Neil Constable, Chief Executive, Shakespeare’s Globe, Stage Management 1985

64 To find out more visit www.gsmd.ac.uk

To find out more visit www.gsmd.ac.uk 65

Architect’s image of the new theatre in Milton Court, opening in 2013

66 To find out more visit www.gsmd.ac.uk

Programme facilities

Transferable skills

You will train in our well-equipped, flexible theatre

As well as equipping you with the skills and

spaces. The Silk Street Theatre seats up to 308 in

knowledge to enter the theatre and entertainment

formats such as proscenium, promenade, thrust and

industries, the Technical Theatre Arts programme will

in the round. It has counterweight flying, a large

also provide you with a range of transferable skills

orchestra pit and easy access to the workshops. It

which are valuable to any employer. These include:

is particularly well equipped for lighting and sound

• Verbal and written communication skills

and provides a dramatic and adaptable environment

• Problem solving skills

which is stimulating and exciting at the same time as being practical, safe and ideal for learning.

The Studio Theatre is used for opera, showcases and rehearsals, as well as for teaching projects and experimentation.

In the spring term of 2013, the new development at

• Time management skills • IT skills • Research skills • Management skills.

Milton Court will provide us with additional facilities

Preparing for work

to house both Technical Theatre and Acting training.

On successful completion of the programme you will

It will provide new rehearsal rooms, a TV studio,

be fully equipped with the professional standards,

costume department and teaching rooms. Perhaps

skills, knowledge, experience and contacts to enter

most importantly it will include a new 610-seat

the theatre industry. This can be as a permanent

concert hall, a fully automated proscenium theatre

employee of a theatre or company, or initially on a

seating 225 and a new studio theatre with a tension

freelance basis. You will receive lectures and advice on

wired grid and flexible seating with a capacity of

what being freelance means, and how to go about

128. This will mean that the School boasts more

getting work. Our graduates have had a near 100%

performance venues than any other school in the UK.

employment rate.

In addition the School regularly stages productions

Students who have a right to work in the UK are

in the Barbican Centre’s theatres and at the nearby

eligible to become student members of British

Bridewell Theatre.

Actors’ Equity and will automatically be granted full

Other School facilities that you will use are the scenic

membership on completion of their training.

workshop, paintshop, prop making department, lighting workshop, wardrobe, production and stage

Finding out more about the profession

management offices.

If you want to find out more about possible

All departments are equipped with networked

careers backstage there are a number of good

newly equipped and refurbished sound studio,

computers with access to the internet. There is

websites to explore; try these three as a start:

a well-equipped computer room exclusively for

getintotheatre www.getintotheatre.org

Technical Theatre use. You will be given an email

CDS www.drama.ac.uk

address and secure storage for your own files as

RSC (search for “think theatre” section)

well as having access to production and programme

www.rsc.org.uk

related information on shared drives and on the School’s intranet.

To find out more visit www.gsmd.ac.uk 67

On coming to the Open Day ‘I knew this was the college for

me – not only were the facilities amazing but the people and the atmosphere were unbeatable.

’

James Brittle, BA Technical Theatre Arts

68 To find out more visit www.gsmd.ac.uk

Professional secondment Students from the programme have recently been on secondment to: The National Theatre

Paule Constable – Lighting Designer

The Royal Court Theatre

Les Misérables

The Royal Shakespeare Company

Autograph Sound

Shakespeare’s Globe

Imagination Events

Royal Opera House Covent Garden

White Light

Opera North

Royal Albert Hall

Welsh National Opera

Donmar Warehouse

Almeida Theatre

Glyndebourne

Stage Technologies

Old Vic Theatre

Barbican Centre

The School is currently developing an exchange and

English National Opera

work programme within the Erasmus scheme which

Mamma Mia!

will further enhance the professional secondment

Rick Fisher – Lighting Designer

offering to Technical Theatre students.

To find out more visit www.gsmd.ac.uk 69

70 To find out more visit www.gsmd.ac.uk

Employment Students from the Guildhall School Technical Theatre

Career Progress

programme have a very good record of employment

Previous Guildhall graduates have progressed to

and former students can be found in a wide variety

senior positions:

of theatre and opera occupations. Examples of recent graduate successes include: Stage Management positions: West End,

Company Manager, Les Misérables Stage Manager, Royal Shakespeare Company

national and international tours

Sound Designer, Autograph

National Theatre Production Office

Senior Technical Show Manager, Royal Albert Hall

ASM, Cheek by Jowl

Chief Electrician, Donmar Warehouse

ASM, Royal Opera House

Senior Production Manager, Imagination

Electrician, Royal Court Theatre

Freelance Lighting Designer

Hire Manager, White Light Group

Freelance Sound Designer

Sound Technician on War Horse

Theatre Designer

Lighting Technician, UK tour Sound of Music

Enhanced Career Opportunities

Wardrobe department, Royal Opera House Covent Garden ASM, Royal Shakespeare Company Stage Manager, Rogeland Theatre Norway Asst Sound Designer, Manchester Library Theatre

Students may go on to work in related industries such as film, television, events, conference and also in work away from the entertainment industries.

For example: Assistant Director in the film industry TV Researcher

ASM, Scottish Ballet

TV Location Manager

ASM, Oliver!

Theatre Agent

Electrician, world tour of Swan Lake on Ice

TV Presenters’ Agent

Asst Prop Maker, English National Opera

Theatre Producer Theatre Promoter Theatre Marketing Executive Director, Almeida Theatre Documentary Film Maker Director of UK Admin, Jim Henson Company Head of Projects, Tussauds Group Sound Engineer, Pop Videos TV Sound Supervisor Chief Executive, Shakespeare’s Globe

To find out more visit www.gsmd.ac.uk 71

Staff Director of Drama

Head of Theatre Technology

Christian Burgess AGSM FGS

Steve Huttly FGS BA(Hons) PGCert

Director of Technical Theatre

Head of Production

Ben Sumner MBA

Stuart Calder CSMGSM

Head of Design Realisation

For a full list of teaching staff please visit the website:

Vanessa Cass BA(Hons) PGCert

Head of Stage & Costume

www.gsmd.ac.uk/technical_theatre

Management Jonathan Woolf CSMGSM PGCert

72 To find out more visit www.gsmd.ac.uk

Who will teach you There are 24 full-time members of staff in the

A member of the teaching staff will also be your

Technical Theatre department. All have had extensive

personal tutor and will follow your progress and

and varied careers in professional theatre. The

act as a mentor for your personal development.

department maintains constant industry contacts via incoming directors, designers, and through professional colleagues and ex-students working with all the major UK theatre and opera companies, productions and suppliers.

On productions, all students, whichever year they are in, work together. Peer learning is therefore important with senior students in organising roles and more junior students being able to observe how skills and knowledge are acquired and used.

Designers and Lighting Designers who have worked at the School recently include: Peter Mumford, Isabella Bywater, Susannah Henry, Mark Jonathan,

Application and selection

John Owens, Tom Rogers, Dora Schweitzer, Johanna

Everybody who applies will be required to come to

Town, Hugh Vanstone and John Leonard.

London to attend an interview day at the School.

The particularly high staff/student ratio is one of

Interviews will be held from November until May with

the strengths of the programme. As you move through the programme, staff input changes from formal teaching to empowering and supporting your production work. This allows you freedom to demonstrate and develop your professional

applications being accepted up until the end of this period. However, it is in your interest to apply early as places are offered throughout the year.

Visit www.gsmd.ac.uk/technical_theatre for details of our interview day and Open Day.

standards and skills.

‘Guildhall’s training and resources are unrivalled and therefore their students are highly sought after.’ Neil Austin, Stage Management 1992

To find out more visit www.gsmd.ac.uk 73

Research & Knowledge Exchange to explore fundamental questions that inform artistic

Research Degree – MPhil/DMus and MPhil/PhD

practice in the 21st century. Research increasingly

The Research Degree programme focuses on practice-

underpins collaboration across the campus. There

based research in the creative and performing

is therefore a unique opportunity to engage in

arts, and a particular strength lies in the field of

enquiry, experiment and reflection in the context of

composition. The majority of projects result in

an arts complex at the cutting edge of performance,

a combination of performance/creative outputs

artistic production and innovation. There are diverse

and written work. In a few cases, where research

opportunities for students across all programmes.

may best be expressed through the written word

Current areas of research focus include:

alone, the output is a single thesis. An individual

The Guildhall School provides a dynamic environment

• New opera and music theatre • Presence in performance • Poetry in music • Understanding audiences • Contemporary performance practice

research proposal is supported by a strong research environment, a personalised development plan, opportunities to draw on the artistic resources of the School and a supervisory team combining artistic and academic expertise.

Much existing work is inter-disciplinary and

Assistant Principal (Research & Academic

collaborative, and all of it, led by eminent figures

Development)

from the music and drama professions, informs

Dr Helena Gaunt PhD LGMS(PCS)

teaching and the programmes of study, from undergraduate to doctoral level.

Research Environment & Knowledge Exchange

Head of Doctoral Programme Dr Kate Romano MPhil (Cantab) PhD Visit www.gsmd.ac.uk/research for more information.

The international conference, the Reflective Conservatoire, is an established feature of the events calendar and a world leader in the Conservatoire sector. The most recent conference, Performing at the Heart of Knowledge (Feb 2012), brought together researchers, performers and teachers in music and drama to address key contemporary issues. Keynote speakers included Sir Nicholas Kenyon and Professor Richard Sennett.

Guildhall ResearchWorks provides an annual series of presentations, performances, workshops, debates and roundtables. These are open to all students, staff and in many cases to the public.

Guests of international standing include Helmut Lachenmann, Professor Carl Schachter and Jonathan Dove. Alongside them, students and staff have the opportunity to present their work.

74 To find out more visit www.gsmd.ac.uk

Helmut Lachenmann presenting at a recent ResearchWorks conference

To find out more visit www.gsmd.ac.uk 75

The world of work Training at the Guildhall School is entirely focused

job vacancies, subsidised courses, competitions and

on equipping you for the career of your choice. As a

placements. The School also provides a secure area

key aspect of this, all of our programmes are closely

on its website, the Alumni Common Room, where

engaged with the professions, whether through

alumni can update their contact details and search

talks and workshops from visiting industry figures,

for other alumni in the directory.

work placements, mentoring, masterclasses, or performance collaborations. Most of our teaching staff continue to work on or offstage in their industry and are perfectly placed to provide insight, advice and useful contacts within their profession.

As you move through your programme, your links with the relevant industry will grow. You will receive careers advice with dedicated modules in many programmes, as well as one-to-one advice from teaching staff and mentors. Opportunities include: • Actors take a career preparation module which includes advice on auditions and casting sessions, agents, unions, tax and accounting, CVs, and setting up a professional company.

The Alumni Office has a specific presence on social networking sites including Facebook, LinkedIn and Friends Reunited, facilitating connections between fellow alumni and the School.

All graduates, former staff and former students who studied at the School for at least twelve months are considered to be members of the Guildhall’s alumni community. For further information go to www.gsmd.ac.uk/alumni or email alumni@gsmd.ac.uk.

Alumni The School has an impressive record of alumni

• Technical Theatre students take a professional development module which includes help with CVs and job applications, interview technique, taxation, and unions. They also undertake a 4-6 week professional secondment.

success and achievement. Many of our former

• Undergraduate musicians take modules which include advice on business and marketing skills, and professional portfolios. Postgraduate musicians are required to plan external events and there are also opportunities for placements and artistic programming in certain programmes.

All musicians can attend masterclasses, and in addition, the Centre for Orchestra initiative offers mock auditions, a side-by-side scheme and mentoring from LSO players.

and experience with current students.

After you graduate

students return to give talks, masterclasses or to take part in performances, enabling them to stay connected to the School and share their knowledge

Some of the School’s alumni include: Dame Eileen Atkins, Naveen Andrews, Neil Austin, Alison Balsom, Claire Bloom, Orlando Bloom, Guy Chambers, Susan Chilcott, Daniel Craig, Judy Craymer, Dido, Joseph Fiennes, Sir James Galway, Dave Holland, Sarah Lancashire, Paul Lewis, Tasmin Little, Sir George Martin, Alistair McGowan, Ewan McGregor, Julia McKenzie, Marian McPartland, Omar, Anne Sofie von Otter,

All new graduates are automatically registered

Rachel Podger, Rebecca de Pont Davies,

as part of the Guildhall Alumni community. The

Jacqueline du Pré, William Primrose,

School’s Alumni Office promotes networking, social

Patricia Rozario, Clive Rowe, Simon Russell Beale,

opportunities, and active involvement in the future

Claire Rutter, Bryn Terfel, Marcia Warren, and

development of the Guildhall School. The Alumni

Janice Watson.

Office offers a range of benefits (free of charge),

To read biographies of some of our former students, visit www.gsmd.ac.uk/alumni.

including regular magazines, programmes of events and information about careers opportunities, such as

76 To find out more visit www.gsmd.ac.uk

To find out more visit www.gsmd.ac.uk 77

Fees & Funding Tuition fees Tuition fees for all programmes are set annually and should be paid in advance. A 15% deposit is due on 15 July of the year of entry (EU and UK undergraduates are exempt from this deposit unless they have already studied for an equivalent or higher qualification). In addition to tuition fees, students will need approximately £1,050 – £1,200 per month for living and course related costs.

For further information about fees and funding including the School’s fee schedule please visit: www.gsmd.ac.uk/funding

Home/EU students The following countries are classified as European Union for fee purposes: Austria, Belgium, Bulgaria, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, the Netherlands, United Kingdom. Some British and EU territories are also included.

There are also residency requirements which may affect your fee status. Further guidance on funding and other issues for non-UK applicants is available from www.ukcisa.org.uk.

Please note that if you already have a degree or diploma at or above the level of the programme you wish to study at the Guildhall School and would usually pay UK and EU (non-UK) fees you will be classified as an ELQ student and will be liable to pay the equivalent of the overseas fee.

Non-EU students All successful applicants are asked to complete a Fee Assessment Form before commencing their studies at the Guildhall School to establish if their tuition fees will be at the ‘home’, ‘ELQ’ or ‘overseas’ rate.

For students requiring a visa to study in the UK, the UK Border Agency requires, as part of the visa application process, that students demonstrate that they have the means to pay for their tuition for their first year of study and the means to support themselves. For further details see www.ukba.homeoffice.gov.uk/studyingintheuk.

Funding support and guidance The School offers a range of guidance notes to assist

Home & EU students: funding assistance from the UK Government

students in identifying sources of funding to support

All EU/UK students embarking on their first

their studies. These are located in the Fees and

undergraduate degree will not have to pay any fees

Funding section of the School’s website. The School’s

whilst they are studying; students can receive a

Student Funding Officer is also available to assist with

tuition fee loan which is not means-tested. Students

any funding queries you may have. Please contact

will only be asked to repay the loan once they have

studentfundingofficer@gsmd.ac.uk.

left university and are earning over £21,000 per year.

78 To find out more visit www.gsmd.ac.uk

Maintenance support for UK undergraduate students

US Direct Loans programme

comes in the form of the maintenance loan, which is

The School is certified to participate in the United

a part means-tested loan repayable after graduation,

States Direct Loans programme administered by the

and the maintenance grant. The maintenance grant

US Department of Education. Please download the

is a means-tested non-repayable grant, where the

School’s Guide to Student Funding for students from

actual amount a student will be entitled to receive

North America for further information. Additional

will depend upon their household income.

information is available from www.dl.ed.gov.

Additional funds may also be available for disability. For further information please visit

Additional funding support for registered students

www.direct.gov.uk/studentfinance.

If a student experiences an unforeseen change of

students with dependants or students with a

circumstances they may qualify for an award from the

The National Scholarship Programme

School’s Hardship Fund to help them overcome their

The School is part of the National Scholarship

immediate financial difficulties.

programme.

Full and part-time UK undergraduate and

Further details are available from the website: www.gsmd.ac.uk/funding.

postgraduate students with low incomes who need extra financial support to access and remain in Higher Education may be eligible for an award from

Guildhall School scholarships The School offers a range of scholarships to all

the UK Government’s Access to Learning Fund administered by the School.

students regardless of domicile. A scholarship award may cover the cost of tuition fees, in full or in part, and may include an element for maintenance.

Awards are made by academic staff to individuals on the basis of their talent, their potential and their personal financial need. Successful Music and Technical Theatre applicants will be sent a scholarship application form on accepting the School’s offer; details of Acting scholarships will be announced at the final recall auditions.

To find out more visit www.gsmd.ac.uk 79

Apply and Audition The Guildhall School values its diversity of cultures and welcomes applications from across the globe.

www.gsmd.ac.uk The Guildhall School website is designed to have everything you need for details about life at the School, including:

Please take a virtual tour of the School on our website

• online applications

www.gsmd.ac.uk, or come and attend one of the

• Open Day dates and bookings

hundreds of concerts, plays, operas or masterclasses that are open to everyone.

Book a place on one of our Open Days to visit the

• in-depth information on our programmes of study, our facilities and support services, and partnerships and collaborations

Applications and any enquiries about attending the

• interactive video tour featuring over 40 mini films of rehearsals, performances, guided tours and interviews with students and staff

Guildhall School are made directly to the School and

• alumni, student and staff profiles

not via any outside intermediary or agency.

• news stories tailored to every area of study

Full information concerning entry criteria and audition requirements, deadlines and fees and the online application form are available at www.gsmd.ac.uk/apply

• events calendar with details of our large programme of public performances throughout the year

School and experience the buzz for yourself.

• dedicated area for our new facilities at Milton Court • links to our social networking sites and our podcasts on iTunes.

80 To find out more visit www.gsmd.ac.uk

The Guildhall School founded in 1880 by the City of London Corporation David Graves Chairman of the Board of Governors

Senior Staff at the Guildhall School Principal

Director of Creative Learning

Professor Barry Ife CBE FKC HonFRAM

Sean Gregory MPhil BA(Hons) FGS LGSM (PCS)

Director of Music

Head of Junior Guildhall

Jonathan Vaughan DipRCM (Perf) DipRCM (Teach)

Derek N Rodgers LTCL GTCL PGCE

Director of Drama

Director of Corporate and Student Affairs

Christian Burgess AGSM FGS

Deborah MacCallum BMus(Hons) BEd

Director of Acting

Chief Operating and Financial Officer

Wyn Jones FGS

Sandeep Dwesar BA(Hons) ACA

Director of Technical Theatre

Assistant Principal (Research and Academic Development)

Ben Sumner MBA

Helena Gaunt PhD LGSM (PCS)

All programmes validated by City University, London

‘ The Guildhall is a place of constant innovation, energy and open-mindedness. I became friends with and got inspired by some of the most talented artists and teachers in the world. ’ Alison Balsom, Trumpet 2001

To find out more visit www.gsmd.ac.uk 81

How to find us

Guildhall School of Music & Drama Silk Street Barbican London EC2Y 8DT

Photo credits

Tel: +44 (0)20 7628 2571

Design by Falconbury, London

Web: www.gsmd.ac.uk

Printed by Quadracolor.

By Underground/Train Barbican, Moorgate, Liverpool Street, St Paul’s and Bank stations are all nearby.

By Bus Bus numbers 4, 43, 55, 76, 100 and 153 stop nearby.

By Road The Guildhall School of Music & Drama falls within the congestion charge zone, 7am-6pm Mon to Fri excluding bank holidays.

Tel: 0845 900 1234 Web: www.cclondon.com

82 To find out more visit www.gsmd.ac.uk

Clive Barda • Nobby Clark • Stephen Cummiskey • Greg Funnell • Katie Henfrey • Nick James • Nina Large • Kevin Leighton • Alastair Muir • Clive Totman

Guildhall School of Music & Drama

Applications

Research

Email: registry@gsmd.ac.uk

Email: research@gsmd.ac.uk

Silk Street Barbican London EC2Y 8DT

Tel: +44 (0)20 7382 7183

Tel: +44 (0)20 7382 5283

Exchange programmes

Student Affairs

Tel: +44 (0)20 7628 2571 Fax: +44 (0)20 7256 9438 www.gsmd.ac.uk

Email: erasmus@gsmd.ac.uk

Email: student.affairs@gsmd.ac.uk

Tel: +44 (0)20 7382 7183

Tel: +44 (0)20 7382 7219

Finance

Students’ Union

Email: finance@gsmd.ac.uk

Email: union@gsmd.ac.uk

Tel: +44 (0)20 7382 7208

Tel: +44 (0)20 7382 7961

Music Department Email: music@gsmd.ac.uk

Technical Theatre Department

Tel: +44 (0)20 7382 7144

Email: tt@gsmd.ac.uk

Accommodation Email: accommodation@gsmd.ac.uk Tel: +44 (0)20 7382 6132

Acting Department Email: drama@gsmd.ac.uk Tel: +44 (0)20 7382 2323

Registry

Tel: +44 (0)20 7382 2323

Email: registry@gsmd.ac.uk Tel: +44 (0)20 7382 7181

To find out more visit www.gsmd.ac.uk 83

The Guildhall School is provided by the City of London as part of its contribution to the cultural life of London and the nation

84 To find out more visit www.gsmd.ac.uk