PLAY: the Guildhall School Magazine spring/summer 2016

PLAY The Guildhall School Magazine Spring/ Summer 2016

4 Behind the Scenes Playing in Rep

26 The Interview Athole Still

6 Your latest School news and stories

30 Then & Now Debbie Wiseman 32 Class Notes

35 In Memoriam Sir George Martin

12 Guildhall to the World New York, New York 14 My Legacy Gift Kevin Webb 16 Where art meets business 22 Doctor in the House Philip Venables

38 A Day in the Life Sara Lee

Short Courses 2016 Summer Arts Camp New Summer Arts Camp for 11-14 years

(in association with the Barbican) Drama Summer School

Acting in Shakespeare & Contemporary Theatre Acting in Musical Theatre Drama Summer School for 16-17 years Music Summer School New Brass and Percussion Week

Advanced Saxophone New Advanced Viola and Performance Health New Advanced Oboe New Oboe and Cor Anglais Artistry Jazz and Rock Week Jazz Singers’ Weekend Advanced Jazz Singing Taster A Cappella Choral Essential Music Theory Music Theory: Beyond Grade 5 New Essential Aural Skills New Aural Skills: Beyond Grade 5 Technical Theatre Summer School

Stage Management Skills Opera Stage Management Stage Lighting Skills Practical Theatre Sound Skills Video Projection Mapping Prop Making Skills Introduction to Costume Continuing Professional Development New Training in Classical Voice

Mindfulness for Performers Creative Music Training Introduction to Automation for the Entertainment Industry (in association with Stage Technologies) Booking now open. Find out more at gsmd.ac.uk/summer

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Editorial Group

Deputy Head of Development (Alumni & Supporter Relations) Rachel Dyson Head of External Affairs Jo Hutchinson Head of Development Duncan Barker Marketing & Communications Officer Rosanna Chianta Writer & Editorial Consultant Nicola Sinclair Art Direction & Design Pentagram Jessie Earle Contact

Email editorial@gsmd.ac.uk Twitter @guildhallschool Facebook GuildhallSchoolAlumni Post Development & Alumni Relations Office Guildhall School of Music & Drama Silk Street, Barbican London EC2Y 8DT Photo Credits

Clive Barda, Tom L. Blau, Carnegie Hall, Paul Cochrane, Company Pictures/Playground Entertainment for BBC2, Lizzie Coombes, Rachel Dyson, Guy Levy, R. McElroy, Juan Carlos Orihuela, Laura Radford, Morag René, ROH/ Lyric, Susana Sanroman, Clive Totman, Felipe Tozzato

Welcome to the latest edition of PLAY Recently, I spent two days meeting with current students who had applied to be involved in our Easter telephone appeal. I asked them all the same questions and their responses, regardless of subject or level of study, were astonishingly consistent and often quite touching.

When asked ‘Why did you choose to study at Guildhall?’, many students spoke of loving the ‘easy-going’, ‘friendly’, ‘progressive’ environment at Guildhall; how they felt at home as soon as they walked in for an open day, an audition or to visit a friend who was here before them. They talked of the collaborative opportunities that arise from the combination of conservatoire and drama school, and from the School’s partnerships with external organisations such as the LSO, the Barbican and the Royal Opera House.

In answer to ‘What do you most enjoy about your course?’ the common replies were ‘the great teachers’ (naturally), ‘freedom’— the freedom to experiment, to take risks in a safe space and to be entrepreneurial – and the ‘variety’ of projects, electives and performance opportunities available. It is fitting, then, that this edition of PLAY features some truly enterprising students, staff and alumni.

Over the years, I have spoken to many alumni about their time at Guildhall and, while the specifics of the courses and opportunities on offer have changed, the essence of Guildhall seems to have remained the same. Our student callers look forward to hearing about, and learning from, the experiences of those who came before them as well as – in years to come – talking to the next generation of Guildhall students in their turn.

Rachel Dyson, Editor

P.S. As ever, I look forward to receiving your comments on this edition of PLAY. 3

BE H IN D THE SC ENES

PLAYING IN REP

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This February saw Guildhall stage its first ‘rep’ season in over a decade, scheduling alternating performances of Patrick Marber’s Dealer’s Choice and a Pinter triple bill in the Studio Theatre. The format provides a great challenge for all involved, so PLAY took a peek at the backstage drama Mike Alfreds Director, Dealer’s Choice

Dealer’s Choice is a naturalistic play about six men whose main occupation in life is poker, and it destroys them. The play is set in a restaurant and we are trying to make it feel as realistic as possible, especially the actual poker games.

Reps can be difficult for the technical staff, because the performances are more spread out. As a director, you’re not sure whether the cast will return from the two-day break feeling refreshed, or if the show will have lost some of its momentum. In fact it’s going very well so far, and it’s proving useful to have more time to refine things.

This isn’t my first time directing Guildhall students (I directed Twelfth Night here last year) and I’ve found the cast excellent once again. They’re well trained, skilled and talented performers.

In fact, I don’t see much difference between working with Guildhall students and seasoned professionals. What they lack in experience they make up for in commitment. Egos can be challenging to deal with for a director but these students have a very healthy attitude and are eager to learn. It’s been particularly impressive to see them staying late after rehearsals to master the art of poker – I hope we’re not encouraging bad habits.

Rory Beaton Lighting Designer

I’m really enjoying taking part in Guildhall’s rep season. I have some experience of rep from Pitlochry Theatre,

where they do up to seven shows in one rep, so it was great to put that experience to use here. For this double bill we have two separate directors but one designer and one lighting designer, plus the video designer for Pinter. You have to schedule everything very carefully, with a technical rehearsal then dress rehearsal for each, but it all works in reverse so the last show you checked is the first show you open.

Then there’s the lighting rig. You either have to set up one rig and refocus it for the next show, or design one solution that works for both. In this case you have two shows with two very contrasting briefs.

Dealer’s Choice is quite naturalistic as it takes place in a restaurant, whereas Pinter is more abstract and off the wall, with lots of big shafts of light and abstract angles. It’s logistically challenging but good fun. In our third year at Guildhall most of our time is spent managing shows and dealing with new challenges like this, and it’s a great opportunity to get out there and learn through osmosis.

Kathryn Mercer Technical Manager

As Technical Manager I take charge of the set, making sure it can be assembled and dismantled quickly in the turnaround and that everything is safe. It’s important to make sure everyone knows what they’re doing, and to find solutions that keep everybody happy. Part of that is making sure the designer, lighting technician and director are talking to each other about what they want, and finding compromises that meet everyone’s needs. It can require a lot of tact! You have to be ready to change things every day and not take it personally or get precious about it. That’s the thing about working with creatives!

I think reps are a great opportunity to teach us a different way of working.

Guildhall has such high professional standards but when we graduate we won’t always be working in venues that have the resources to put on a really slick production. The rep has a nice fringe feel: we call it ‘scissors and glue management’ because you use whatever you can, however you can, to make it work. It teaches us to be creative and resourceful.

George Edwards Actor, Dealer’s Choice

I play Sweeney in Dealer’s Choice. Sweeney works in the restaurant where the late

night poker game takes place, and is under pressure to join the game. He tries to resist because he needs to keep his money for his daughter’s birthday day out, but ultimately ends up joining in and gambling it all away. It’s the journey of someone trying to do the right thing but being unable to defeat his own addictions. In many ways it’s an ugly role, but a really interesting part to play.

Dealer’s Choice is a joy to perform in because the writing is so rich, and Mike Alfreds is a brilliant director. I’m in my third and final year at Guildhall, yet despite having had this amazing training I felt surprisingly nervous about taking on the modern text. I needn’t have worried. What I found is that my natural instincts are still there but now I have this new technical ability from training on totally different plays, like Shakespeare and Chekhov. All that training comes to the fore and actually feeds the modern text. Suddenly this big scary role comes to you quite naturally, and you discover you can trust in the training that’s got you here. That’s a great feeling.

Jo McInnes Director, Pinter triple bill

I don’t have the opportunity to direct students very often, but I do work with Guildhall once every couple of years.

It’s a process I find really nourishing.

You learn a lot by going back to a place of learning and working with people who are just starting out. Because their learning process is much more visible you gain so much as a practitioner, and become more aware of your own working practices.

Doing Pinter feels particularly important because he strips his writing to the core, which forces the actors to be economic in their choices. It’s a great challenge for the actors, and the rep format also allows them to work on a shorter text as part of a smaller cast. So far the actors have been fantastic to direct: very open, strong, talented and creative. This industry can be depressing because at times you feel it’s driven as much by fashion as talent, but I love working with Guildhall because they work holistically, focusing on the person as much as the actor. The result is a well-rounded professional who has the tools to cope with whatever the job throws at them. As a director I find that really refreshing.

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News

Congratulations, Class of 2015 On Friday 6 November Guildhall presented 200 students with their degree and diploma certificates, and announced Fellowships for a distinguished list of honorands.

The annual Graduation Day at City of London’s Guildhall included a welcome from the Chairman of the Board of Governors, Deputy John Bennett, before an address by Principal, Professor Barry Ife, and presentations by the Right Honourable The Lord Mayor Alderman Alan Yarrow.

This year, those made Fellows of the School included: Hannah Bibbins, Estates & Facilities

Senior Projects Manager Jim Dean, Orchestral Manager Alderman David Graves, current

Deputy Chairman of the School (and outgoing Chairman) Danny McGrath, Head of Physical

Actor Training Caroline Palmer, Piano Professor Jonathan Vaughan, Vice Principal and

Director of Music Jodie Whittaker, Acting alumna

Professor Barry Ife, Johanna Town, Danny McGrath, Jodie Whittaker and Mark Jonathan

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Acting graduate Jodie Whittaker gave the acceptance speech on behalf of the honorands, while 2014 Honorary Fellow Mark Jonathan also attended to receive his Fellowship from last year.

Honorary Fellowships were awarded to Wigmore Hall Artistic and Executive Director John Gilhooly OBE, Chief Executive of Arts Council England Darren Henley OBE, lighting designer Johanna Town, and Chief Executive of Aldeburgh Music Roger Wright CBE. Prior to the presentation of degrees and diplomas, the School awarded Gold Medals to Marta Fontanals-Simmons and Jennifer Witton (Music), Oscar Batterham (Acting) and Emilie Kaas Claesson (Technical Theatre).

The Lord Mayor’s Prize and Lady Mayoress’ Prize were awarded to Edward Sayer and Seth Scott Deuchar respectively, while Jonathan Quaintrell-Evans and Martin Wade were presented with Sheriffs’ Prizes.

Already a Gold Medal recipient, Emilie Kaas Claesson was further awarded the Chairman’s Prize, while Matthew Rainsford won the Principal’s Prize. The Lutine Prize for Junior Guildhall was presented to Dan-Iulian Drutac.

Congratulations to our distinguished Class of 2015!

Leia Zhu performing in the Nutcracker Competition

Student success

Junior Guildhall violin star makes history – twice Talented violinist Leia Zhu has won two prestigious international competitions in quick succession, marking her out as one of the prodigious music talents of her generation.

In October, Leia was awarded first place at the International Russian Rotary Children’s Music Competition in Moscow. Then aged just eight years old, Leia became the youngest prize winner the competition has ever seen, as well as being the first British winner in the 13 years since it began.

Out of six young musicians selected for the final, Leia’s performance of Mendelssohn’s Violin Concerto at Moscow’s Gnessin Special School of Music gained her first prize in the competition for 8-12 year olds, and included an award of US$3000.

But Leia was not done yet, and just two

months later, now aged nine, she went on to win first prize in the 16th International Television Contest for Young Musicians ‘Nutcracker’ Competition in Moscow. Once again, Leia became the youngest-ever winner, and this time the first British winner in the history of the competition.

For her winning performance, Leia played alongside the Russian National Orchestra, conducted by Mikhail Pletnev in the prestigious Tchaikovsky Concert Hall.

Leia joined Junior Guildhall in September 2015, with her areas of study covering chamber music, composition and piano. She also studies privately with Itzhak Rashkovsky. “It is so exciting to play in different countries and meet so many new people,” said Leia. “Russian classical music has such a distinctive history.

For me to play in the home land of names such as Tchaikovsky, Rachmaninov, Shostakovich, was such an inspiration!”

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School news

Guildhall calling!

In early April, current students from the Guildhall School will telephone alumni to talk to them about their respective experiences at Guildhall and the positive impact that former students continue to have on the School today.

The calls will provide an opportunity for alumni to hear about new developments at the School and to find out what it is like to be a Guildhall student in 2016. How much has changed?

What remains the same?

For more information and to find out about our student callers go to gsmd.ac.uk/telephonecampaign School news

Guildhall signs unique new China partnership

In the first partnership of its kind, Guildhall School and Beijing’s Central Academy of Drama (CAD) have agreed to launch a joint Bachelor’s Degree in Acting Studies for Chinese students.

The course will start in September 2016 and offers 25 students, nominated by CAD, the opportunity to train for two years at each institution, with those 8

eligible receiving a joint BA in Acting studies from both Guildhall and CAD, subject to validation by both institutions.

The unique degree will see students spend the first and fourth year of the course in Beijing, while studying in London for the second and third years.

In preparation for the overseas study period, the CAD students will undertake intensive study of English in the first year, and upon arrival in London will be enrolled in an intensive induction programme. The two-year London programme will allow the CAD students to follow, as far as possible, an equivalent training process to that of Guildhall’s BA Acting students. Throughout the programme students will be provided with support and guidance from both institutions to ensure the training in both continents is as accessible and rewarding as possible.

Professor Barry Ife, Principal of the Guildhall School, signed the agreement at a ceremony in December on CAD’s Dongcheng Campus, along with CAD President Professor Xu Xiang. “This is a ground-breaking initiative in international acting training, aiming to equip Chinese students to work in what is increasingly a global industry,” said Professor Ife. “Developed during this UK-China Year of Cultural Exchange, our partnership forms part of the UK’s growing commitment to work collaboratively with Chinese performing Saffron Hall arts institutions to enhance mutual

understanding of each other’s cultures, performance traditions and training methodologies. The Guildhall School is delighted to welcome Central Academy of Drama students to London and is proud to be making a significant contribution to cultural exchange in this way.”

In signing this agreement with CAD, Guildhall is partnering with one of the finest drama and stage arts institutions in China. The first theatre higher educational institution of the People’s Republic of China, CAD is now affiliated to China’s Ministry of Education, and acts as the headquarters of the China Alliance of Theatre Higher Educational Institutes, Asia Theatre Education Centre and holds the UNESCO Chair on Theatre Education. The Academy has the only state-level teaching team in acting, the only national innovative experimental zone for talent cultivation in musical acting, and the only state-level demonstration centre for experimental teaching in Drama (Film & TV).

Announcing the partnership, Professor Xiang said: “The Guildhall School of Music & Drama is a world-renowned arts institution, and the Central Academy of Drama has complete confidence in the quality of training by the Guildhall School. We hope that through the two-year study at Guildhall, the students’ level of expertise in acting can be greatly improved, and that they will play a vital and decisive role in the development of China’s performing arts.”

School news

Guildhall says thank you On 16 February, 100 staff and students of Guildhall filled the Silk Street foyer to pay tribute to the generosity of the School’s donor community. In the past year, some 924 donors have supported the School, raising more than £2m between them.

With 47% of Guildhall students receiving financial support in 2014/15, staff and students turned out in force for the second annual Thank You Day. Together they recorded video messages about what Guildhall means to them, signed donor thank you cards, donned props for a fun photo shoot and even got baking!

Meanwhile, the ‘thank you’ messages continued on social media, under #guildhallthanks: Oscar Colomina Bosch 5 fab years @guildhallschool changed my life. Anonymous donor was crucial. Now I teach @RoyalAcadMusic and @MenuhinSchool #GuildhallThanks Malcolm Edmonstone In my 5 years @guildhallschool I met my now wife and closest friends, had an incredible education and learned how to teach #guildhallthanks Erin Witton #GuildhallThanks The almighty @LeverhulmeTrust, without whom I couldn’t spend 95% of my waking hours in a theatre, and still afford to eat.

Emily Laing #GuildhallThanks. That is all. You guys know what you did for me for three years. @guildhallschool. Miss it everyday.

School news

Techs in the City Guildhall’s Technical Theatre students have been leaving their mark on the City of London with a range of ambitious and innovative projects.

In the autumn of 2015 Guildhall produced a composition of music and light inspired by the stories behind the Magna Carta, to mark 800 years since the creation of the Charter. The spectacular Son et Lumière was projected onto the fine Hindoo-Gothic architectural façade of the City’s Guildhall, bringing the building and this unique chapter of history to life.

The 800-year anniversary also provided inspiration to Guildhall’s student costume designers, who were approached by the City of London Cleansing Team to create costumes using recycled products to be worn in the Lord Mayor’s Show 2015.

Taking inspiration from the 800 years theme, Year One Costume Supervision students married old and new with costumes constructed from video tape, plastic bags, bottle tops, sofa covers, sweet wrappers and more. The costumes were a great success and featured on the BBC television coverage of the procession.

On 4 March, Technical Theatre students once again helped the City of London to celebrate a great national anniversary: the 400th anniversary of Shakespeare’s death. Hot on the success of the Magna Carta Son et Lumière, Guildhall Library and Guildhall School hosted another spectacular light and sound production, this time in celebration of the Bard. The historic façade of Guildhall was transformed with 3D projection mapping technology and a special music composition. This was followed by a celebratory event featuring Shakespeare-themed cocktails and displays including Shakespeare’s signature on his mortgage deed and Guildhall Library’s copy of the First Folio, considered one of the five best in the world.

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School news

New Seaboard lab brings next generation of musical instruments to Guildhall

generation of music creators, and this partnership will enable the School to teach its students in some of the most cuttingedge, contemporary ways to make music.

“We are delighted to announce this exciting new partnership that demonstrates Guildhall School’s commitment to be at the cutting edge of Electronic Music performance and production,” said Mike Roberts, Head of Electronic Music.

“The Seaboard RISE is one of the most exciting and important developments in expressive music technology for many years.”

Guildhall is delighted to announce the opening of a state-of-the-art new Seaboard Lab in its Electronic Music Department. Under a new collaboration, London-based technology company ROLI has opened its first Seaboard Lab at Guildhall, with eight of the Seaboard RISE instruments – hailed as the next generation of piano keyboard – housed in a dedicated studio. Guildhall will make the most of the opportunity by establishing a Seaboard Ensemble comprised of Electronic Music students, and will perform the first ensemble performance of Seaboards at the Barbican Centre.

ROLI is credited with inventing awardwinning musical instruments for the next

multidimensional MIDI controller that lets music-makers control and shape sound through five dimensions of touch.

This touch-sensitive interface moves the Seaboard RISE several steps beyond the traditional keyboard, which offers only one dimension of touch – strike – for controlling sound.

Through the Seaboard Lab and Ensemble, Guildhall has access to the award-winning Seaboard RISE, a

Roland Lamb, ROLI’s CEO and inventor of the Seaboard, added: “At ROLI, we are committed to enabling people of all ages and backgrounds to access their potential as expressive music creators.

We are very excited to be partnering with such a prestigious institution to bring the Seaboard to students who are studying music at the very highest level.”

School news

Guildhall appoints András Keller as Professor of Violin

Guildhall School is delighted to announce that András Keller has been appointed as Professor of Violin and began teaching in January 2016.

This is the first UK appointment for the renowned violinist who served as head of the Chamber Music Department at his alma mater, the Franz Liszt Academy of Music, from 2012–2015.

András commented: “I’m extremely pleased to join Guildhall, where I will do my best to build up a great violin class. In the past few years, I’ve met several exceptional young artists from Guildhall, and besides their great technical ability, I find all of them have great musical sense, commitment, interest, and understanding. So I said to myself, this could be ‘my school’! I can’t wait to pass on to them what I have learned from my great masters, Sándor Végh, György Kurtág and Ferenc Rados.”

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Flashback Up to Room 69, John Carpenter Street, 1950 Were you a student at Guildhall School in the 1950s? Do you still have your Guildhall scarf, as modelled by the lady on the left? Do you recognise these students?

We would love to hear your stories and see your photographs of life at Guildhall.

Please do get in touch (see contact details on p3).

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GU IL DHALL TO THE W ORLD

★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ NEW YORK, NEW YORK ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★

This January, three senior Guildhall students headed to the Big Apple for the opportunity of a lifetime: their debut performance at Carnegie Hall. Violinist Savitri Grier tells all ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★

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The event Every two years, Guildhall gives three musicians the opportunity to perform in New York, at Carnegie Hall.

I was selected for the performance on 20 January, along with pianist Jean-Sélim Abdelmoula and clarinet player Stephen Williams. I was so excited to have the chance to be heard at such a prestigious venue.

having that first performance under our belts gave us the confidence we needed to make the most of the opportunity at Carnegie Hall.

Out and about I haven’t been to New York since I was 10 years old so it was great to experience it as an adult. We were lucky to get out there just before the storm descended, but it was still absolutely freezing cold! When we arrived we made the surprise discovery that our hotel rooms had all been upgraded, so we had lovely rooms overlooking Central Park. We spent most of our five days rehearsing, but we did manage to fit in some sightseeing.

One of the great things about New York is that it’s easy to walk everywhere, so we had a wander around and visited the Empire State Building, the Met and Times Square.

It was a great way to get a feel for the city, and I definitely made two new friends along the way.

The big night However, we had quite a tough challenge ahead of us. The programme included Debussy’s La terrasse des audiences du clair de lune and Première Rhapsodie; Stravinsky’s Three ˇ Pieces for Clarinet Solo; Ravel’s Violin Sonata, and Janácek’s In the Mists, before culminating with Bartók’s virtuosic Contrasts for violin, clarinet and piano.

The piano, clarinet and violin are such distinct instruments, it was a challenge to get them to blend well together, and while I’ve been playing Ravel’s Sonata for years, Bartók’s Contrasts was new to all three of us, so we had lots of work to do!

Getting ready We obviously had a very intense rehearsal schedule to get ready for our New York debut, but the great thing about playing with Jean-Sélim and Stephen is that we all shared the same level of professionalism. We took the opportunity really seriously and worked well together, recognising that the performance needed to be polished without overdoing it and losing that sense of freshness.

It was incredibly helpful to have the chance to perform the concert at Milton Court on 8 January. We were a little on edge because the programme was still so fresh, but

There’s so much hype attached to the name Carnegie Hall, it was hard not to feel intimidated by such a prestigious venue. However, by the time we took to the stage we were well prepared, so the nerves didn’t stop us really enjoying the performance, and the audience gave us a very warm welcome.

After the concert we went to a drinks reception for performers, alumni and friends of Guildhall in New York.

We had a fantastic time – I think we were still all on such a high from the performance! I met some really interesting people, and it was particularly good to meet musicians who had studied with some of my Guildhall teachers in London.

The opportunity Opportunities like these are absolutely central to becoming a professional musician. By this stage of my studies I already know how to practice, but you never stop learning how to communicate the music and make it mean something to your audience. On the more practical side, I also learned how to perform with jet lag!

Last year, I was selected for representation by the Young Classical Artists Trust, so 2016 is giving me my first taste of a professional diary. I can hardly think of a better start than with a performance at the Carnegie Hall. These past few months have passed in a blur of excitement!

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MY LEGACY GIFT: KEVIN WEBB

Former Junior Guildhall student Kevin Webb has pledged to leave a legacy to Guildhall in his Will.

He takes time out to tell PLAY why Guildhall has earned his support Can you tell us about how you first got to know Guildhall?

I was very lucky to grow up in the days when local authorities still funded 100% bursaries at the junior departments of the London conservatoires. I auditioned for a bursary with West Sussex County Council. At the time, I played in a local wind band and the principal trumpet had gone to study at Guildhall, so I told the Council that I would like to go there too. I didn’t realise at the time how prestigious Guildhall was, but the West Sussex Music Advisor did and he wasn’t confident that I would get in – which just made me even more determined to prove him wrong! Thankfully I did get in, and for the next six years I had a fully funded place at Junior Guildhall to learn the trombone. My dad used to drive me up there every Saturday morning, leaving at about 7am (it was a 90 minute drive 14

from Chichester) and from there I’d have a whole day of tuition.

What impression did Junior Guildhall make on you?

I still remember playing in the brass band under John Clark and to begin with, I was rather scared of him! But he had a forensic eye for detail and pushed all of us to beyond what we all thought we were capable of. I will always be thankful to John for that. Then there was the Symphony Orchestra’s wonderful conductor, Fred Applewhite. If Fred didn’t think the brass section was up to scratch, he’d walk straight up to us, with the string section of the orchestra parting like the Red Sea and he’d tell us what we had to put right! People like John and Fred were the teachers that shaped us and to this day I still credit them for the sense of professionalism I developed at Guildhall. I came to realise the incredible standard of musicianship that was all around me and many of my contemporaries have gone on to have successful performing careers.

Where did your interest in music come from?

My Dad taught me. He had no professional training himself, but he had played in his local St John’s Ambulance Band as a child, then joined the Regimental Band of the 10th Royal Hussars during his National Service. He taught me up to Grade 6. I specifically remember that, because to get into Guildhall I needed a distinction at Grade 5, and I only had a pass. So, I took Grade 6 and then anxiously awaited the result.

On Christmas Day he presented me with a certificate of distinction for Grade 6.

I remember being a bit annoyed that he kept it from me until Christmas Day – he couldn’t resist a bit of drama!

Could you have attended Junior Guildhall without this funding?

No, absolutely not. I’m sure my parents would have done their best to find me a decent local private instrumental teacher, but there was no way they could have afforded the Junior Guildhall fees. As you progress and if you want to get to a high standard, it’s important to have a teacher who specialises in your instrument.

I never became a professional performing musician but for some years I was an instrumental music teacher and if I had a pupil with an aptitude for trumpet I’d take them as far as I could, then hand

them on to a trumpet specialist. Junior Guildhall made all the difference for me. It shaped me as a person because of all the skills I learned, which I still use to this day, playing in amateur orchestras and brass bands. Supporting Guildhall is my way of helping children who will face the same financial challenges I had back in the 80s, and giving them the same opportunities I had.

Is widening participation in the arts a cause that’s important to you?

It’s very important to me. After graduating from Cardiff University I worked for West Sussex Music Service, where part of my role was to encourage children to take up subsidised music lessons. We were reaching young people whose parents had never played music, and who might not otherwise have thought about it for their children. Sadly, funding cuts from central and local government mean that the substantial subsidies for instrumental lessons are just not there anymore. That’s where I think gifts should be directed: to give a leg up to young people who otherwise wouldn’t have a chance to shine.

Why did you decide to help out by leaving Guildhall a legacy in your Will?

I have a tremendous affinity for Guildhall because of the impression it made on me at a young age. I do feel very strongly that those of us who benefited from a free music education have an obligation to help the next generation obtain the same benefit we enjoyed. I don’t regard myself as wealthy and other Guildhall alumni may also say that they don’t have lots of money and small gifts won’t make a difference. However, if enough of us were to donate within our means that would add up to a huge amount. I think we all have a duty to give something back and we can give what we can whilst still providing for our families when we’ve gone. gsmd.ac.uk/legacy

Junior Guildhall, 2015

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WHERE ART ME

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EETS BUSINESS Guildhall’s Creative Entrepreneurs are pioneering a new vision of the arts that combines commercial sense with social purpose Nicola Sinclair finds out more about this unique initiative.

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H

ave we entered the age of the creative entrepreneur? Over the centuries our conception of the artist has evolved, from the artisan ‘maker’ struggling to make ends meet, to the elusive genius supported by a wealthy patron, to the latter-day professional boasting a wealth of credentials and contacts. Whatever the image, each has had to satisfy a market, and yet the relationship between arts and business has often been one of distinct unease.

Enter the internet, globalisation, and a biting recession, and suddenly we find the boundaries blurred between consumer and creator, commerce and craft. In the 21st century the paradigm is changing, and modern artists have a new power to shape their own future – the question is, are they ready?

“Creative entrepreneurship is about building bridges between the traditionally artistic mindset and the realities of establishing a sustainable modern business,” says Kieron Tilley, Entrepreneurship and Enterprise Manager at Guildhall. “The creative industries make a significant contribution to the UK economy – new figures published by the Department of Culture, Media and Sport show the sector’s growth rate is double that of the wider UK economy, contributing approximately £84.1 billion each year.

‘I’m a strong believer in social plus profits.

You need both to make it sustainable.’ unique programme designed to support artists in setting up their own business or social enterprise. Run in partnership with development and fundraising enterprise Cause4, the intensive year-long programme provides access to mentoring and coaching, office space, networks, events, funding advice and support, steering each participant from initial idea right through to business growth.

“This is a really exciting programme that addresses a key need in the performing arts sector,” says Enterprise Co-ordinator Marina Papageorgiou, who has a hands-on role in delivering the scheme.

“We support all aspects of the business’ growth, responding to both start-up and scale-up. From personal experience, the Creative Entrepreneurs have been extraordinary. They come in armed with an idea and it’s amazing to watch them grow.”

Originally open to alumni and staff of Guildhall, from September 2016 the scheme will also include artists from outside the School community. “This initiative is an essential part of our contribution to cultural change in the performing arts, so I’m delighted that we’re now able to scale it up,” says Vice-Principal Professor Helena Gaunt.

“It’s really important to the School that we continue to respond to changing needs and opportunities in the professions, support creativity and innovation, and enable professionals to make a real “It’s become clear that entrepreneurship difference in society. Opening the is essential to the toolbox for emerging Creative Entrepreneurs scheme to a professionals in the performing arts, not wider range of practitioners will enrich least when developing portfolio careers as the scope for fresh ideas and exciting self-employed individuals. Unfortunately, new businesses to take root.” artists can become preoccupied by the creative vision and lack the confidence Multi-award-winning social enterprise to pursue the commercial skills that are Cause4 has proved the perfect partner essential to thrive in the modern market.” with which to take the scheme to the next level. Thanks to an innovative and To market to market modern approach to fundraising, the Addressing this skills gap, the Guildhall organisation has raised more than £40m Creative Entrepreneurs scheme is a for its clients since it was founded in 2009 18

by Guildhall alumna and entrepreneur Michelle Wright.

Says Michelle: “When we launched the programme three years ago we recognised that there was a gap in the market for a course that could specifically meet the challenges of the creative entrepreneur – the artist who is savvy enough to know that success means developing a portfolio of business and enterprise skills. Our vision, in this next step, is to support upwards of 20 new creative businesses to launch and grow each year, providing an important spur to both individuals and the creative economy alike.”

Creative catalyst A first in the performing arts sector, the scheme has the benefit of offering a non-threatening environment both to help aspiring entrepreneurs to develop their business idea away from the competitive ‘dragon’s den’ culture of conventional incubator schemes, and to support early established businesses to grow. The scheme is unapologetically about the creative sector, for the creative sector, but with a solid and pragmatic foundation.

“We’ve found that these people need different kinds of support to catalyse the ideas and make them happen,” says Kieron. “Guildhall has always championed artistic work at the highest levels, evolving the learning environment to help the student become the best artist and professional practitioner they can be.

About Creative Entrepreneurs

Guildhall’s Creative Entrepreneurs programme has been running for three years, and in that time has nurtured the development of 22 creative businesses led by Guildhall alumni and staff, and provided enterprise workshops and events to many more.

From September 2016, the programme will expand beyond the School community, accepting applications from aspiring entrepreneurs across the creative industries. Course participants will benefit from an intensive 12-month programme offering: Mentoring and Coaching – an

Song in the City

Creative entrepreneurship is part of our commitment to excellence now and it fits solidly with our values. We want to encourage a mindset of curiosity, of willingness to commit and experiment, to work hard and keep going when things are tough, to learn from mistakes and nurture an artistic voice with the integrity to make a real difference in the world. These are essential aspects of creative entrepreneurship.”

Social plus profit Indeed, far from insisting on polished presentations and slick business plans from the off, the programme encourages its entrepreneurs to keep an open mind throughout the process, accepting that mistakes will be made along the way, listening to expert advice and then shaping their strategy accordingly. “The importance of learning from our mistakes is a key message throughout conservatoire teaching in the arts, and it’s important that our Creative Entrepreneurs benefit from this idea too,” says Kieron. “It runs in our DNA to pick ourselves up and come back stronger. None of our entrepreneurs will get success handed to them on a plate, so we need to make sure they have the resilience to keep dusting themselves off and knocking on doors.”

enterprise to sustain itself by striking the right balance between commercial profit-making activities and a sound creative and social business model. “One of the biggest difficulties for entrepreneurs operating within the creative sector is that of scale,” says Kieron. “There’s lots of financial support for start-ups in digital media and tech, because these ideas are often scalable and quick to realise profit.

With the creative arts, it’s often about one individual and their business idea.

“It’s been really interesting to observe the various growth strategies adopted by our Creative Entrepreneurs. For example, Bach to Baby, a concert series for babies, toddlers and parents developed by pianist Miaomiao Yu, is expanding through a franchise model, while communications company Turn of Phrase is subsidising its not-for-profit social goals with a broad programme of revenue-generating workshops. There are many creative ways to make an arts business work, but I’m a strong believer in social plus profits.

You need both to make it sustainable.”

What unites Guildhall’s diverse group of Creative Entrepreneurs is a deep commitment to the artistic, economic and social value of their enterprise, with most businesses nurturing a direct social mission. In this way, they are part of a “A key element of this is about giving generation that could radically transform people the freedom to develop within the the common conception of the arts changing professional landscape,” adds – from the lofty vision of a creative elite Marina. “That in itself is a positive impact.” to an inclusive and joyful pursuit with From there, the challenge is for the its feet set firmly on the ground.

average of 30 hours of tailored, one-to-one support Office Space – access to approx.

20 hours central London office space per week, including free Wi-Fi and use of utilities Networks – access to citywide

networks and influential institutions such as Deutsche Bank and City of London Corporation Training – an average of 80 hours

of seminars and workshops on core entrepreneurial management skills Events – an average of 15 special

events per year, including regular evening talks and a range of networking opportunities Funding advice and support

– including the opportunity to pitch to select investors, funders and supporters Interested?

Applications for this year’s Creative Entrepreneurs programme close on 17 June 2016. We are also looking for mentors and coaches to share their expertise with the entrepreneurs.

For more information, visit gsmd.ac.uk/ creativeentrepreneurs

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Meet the Entrepreneurs Drum Works Drum Works is a music project based in east London that uses drumming as a tool to inspire and empower people. Originally a project manager for Barbican Guildhall Creative Learning, Jenny Beer is now in the process of launching Drum Works as an independent Community Interest Company.

group Afro Reggae on a secondary school samba project. After Afro Reggae left we found ourselves with a pile of samba drums and a group of teenagers and we had to decide what to do next. We asked the young people what they wanted to do and the group started creating new work together, inspired by the music they listen to. This approach was incredibly successful: from 20 kids in 2007, we now reach more than 400 young people across six secondary schools.

The project just kept on growing, and Creative Entrepreneurs was the perfect opportunity to move forward. Business planning was new to me, so the guidance I had through the course was invaluable. We spent a lot of time thinking about what elements of the original project we wanted to hold on to and what we should change. The challenge was finding a business model that would enable us to be self-sustaining while preserving our ethos and achieving our social and artistic objectives.

Says Jenny: “Drum Works started out in 2007, when the Barbican invited two London-based musicians to collaborate with Brazilian

We decided to establish as a Community Interest Company, and we subsidise our non-profit-making activities with commercial services such as corporate training workshops and paid performances. This protects our core programme and enables us to keep doing the work we want to be focusing on. Some of our original participants, now in their early 20s, have gone on to study music – two of them at Guildhall – and it’s amazing to think that Drum Works ignited that interest for them and helped them on that journey.” drumworks.co.uk

Song in the City

I realised that you don’t have to compromise your art to make money, just refine it.

Song in the City takes classical music out of its comfort zone, staging concerts and social projects that aim to revolutionise the relationship between classical musicians and their audiences.

Former Guildhall student Gavin Roberts has nurtured the idea from social project to flourishing charity.

I’ve changed a lot because of Guildhall and Creative Entrepreneurs. I initially wanted to study piano accompaniment because I love music, but I’ve come to realise that the world it inhabits can be stuffy and intimidating. That should never be the case – we grow up singing songs and I hope Song in the City captures the joy in that.”

Says Gavin: “I started Song in the City while I was a student at Guildhall.

I wanted to bring together different singers around challenging and unusual themes, and experiment with the space, the actors and audience interaction. The Creative Entrepreneurs programme shook the idea up, asking: What is all this for? The need to ‘sell’ the idea profoundly shaped us as a business.

Today we operate as a charity, covering our costs through the generosity of our donors. This enables us to focus on our social programme, staging free lunchtime concerts to broaden participation and running work in the community, such as our recent project Creative Madness through Song, with the Maudsley Mental Health Charity.

The Creative Entrepreneurs programme helped us to develop a business strategy that protected our core values, and package up the strands of accessibility, social mission and professional development into an attractive sponsorship opportunity.

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songinthecity.org

Turn of Phrase Communications training company Turn of Phrase teaches people the skills, freedom and power of public speaking, while addressing issues of gender equality in communications. The brains behind the business are actors Francesca Wilding and Timothy Allsop.

Say Fran and Tim: “We want speaking to be as highly valued as reading and writing.

As professional actors we understand the skills it takes to stand up in front of an audience, and to communicate your point in a way that’s confident and engaging. A few years ago we began collaborating on a series of workshops designed to teach that skill to professionals in the corporate sector and schools across the UK. At the same time, we were aiming to address an issue

Docklands Sinfonia A young and pioneering orchestra, Docklands Sinfonia stages groundbreaking concerts in London’s Docklands. The business is led by Spencer Down, Professor of Euphonium and head of the brass department at Junior Guildhall.

close to both our hearts: that of gender inequality. We wanted to make people aware of their subconscious gender bias, and provide tools that could be applied in working life.

While we cared deeply about our work, we lacked a formal business background, and Creative Entrepreneurs was the perfect opportunity to develop the skills we needed. It really put us through our paces, with a useful and well-structured programme covering accountancy, business planning, fundraising and pitching. We found ourselves surrounded by enterprising people, and it was an invaluable learning experience.

It helped us to realise that arts and business aren’t mutually exclusive – as an artist, business skills can enable you to take control of your life.” turnofphrase.co.uk

horizon, including the recording of our first CD. We recently staged a concert for 1,600 kids in Tower Hamlets, many of whom had never experienced a live orchestral performance.

This was their local orchestra performing in their local concert hall, and it was brilliant to see the kids really engage with it.” docklandssinfonia.co.uk

Says Spencer: “Docklands Sinfonia was inspired by my grandfather: he worked as a shipwright in the docks, and played the trumpet and saxophone in the local working men’s clubs. It was my grandfather who first introduced me to music, and I lived in the Docklands most of my life, so it was the perfect place to set up a pioneering new orchestra with the mission of bringing high-quality music to new audiences.

Creative Entrepreneurs forced me to go right back to the beginning and ask ‘Why?’ It helped us clarify what we want to do, so that when we meet someone we can quickly tell them who we are, and they get it. That ability to tell our story has had an incredible impact: since starting Creative Entrepreneurs our donations have increased ten-fold year-on-year.

Creative Entrepreneurs has injected fresh energy into our business, and we have a number of exciting projects on the

Lyribox Lyribox helps people to sing classical music by providing them with digital learning tools. Launched by Guildhall vocal student Vincent Bruggeman, Lyribox won the ‘Music Award’ of the 2015 Deutsche Bank Awards for Creative Enterprise.

Says Vincent: “In November 2012, I began looking for resources to help me learn a Russian song by Alexander Porfiryevich Borodin. From this came the question: If I were a singer at a small institution without a specialist in Russian repertoire, where would I turn for help? The concept of Lyribox was born.

Creative Entrepreneurs is the only incubator for the arts in London, and I was attracted to the programme because I felt it would give me the credibility I needed to secure investment.

Although I’m passionate about entrepreneurship, the only

business training I had was from books, and the programme brought quality control to my business activities. It was particularly useful in writing my business plan and pitching to investors.

The main focus of the investment in Lyribox has been to grow the catalogue so that whatever repertoire people want to learn, we have it. We also launched a paid service in September 2015 offering both individual and institutional subscription models, and our longer-term focus will be on developing those revenue streams to fund further growth.

One of the great advantages of Lyribox is that the content is timeless and international, so it has a massive reach. It’s still difficult and expensive to access good quality translations and accompaniments in classical music, and Lyribox aims to fundamentally change how people access learning.” lyribox.com 21

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Doctor in the House Philip Venables, the first Doctoral Composer-in-Residence under Guildhall and Royal Opera House’s innovative collaboration, reflects on the experience

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n 24 May, an ambitious new operatic work makes its world debut at the Royal Opera House: the haunting, poetic and lyrical elements of Sarah Kane’s 4.48 Psychosis reimagined in music. For composer Philip Venables the opera is the culmination of three years of painstaking planning, research and writing, a project he readily admits is “the most exciting and challenging and high profile I have ever taken on.”

Philip is the first participant in Guildhall and Royal Opera House’s unique Composer-in-Residence programme, which provides an intensive three-year studentship leading to a doctoral degree. One of the first examples of an opera company and a conservatoire joining forces, the studentship offers an enriching model of opera development, allowing the composer substantial research experience, critical reflection and creative research, in both professional and academic contexts. The residency, which started in September 2013, culminates in the performance of a major new operatic work.

“The programme in itself is amazing – there’s nothing like it anywhere else,” says Philip. “As the programme’s first ever Composer-in-Residence, both Guildhall and the ROH have been incredibly open and generous in working with me to feel our way through how this might go. As a result my experience has felt very tailor-made and individualised.

“I’ve spent a great deal of time with the programme supervisor Dr Julian Philips, Guildhall’s Head of Composition, and John Fulljames, Associate Director of Opera at ROH. The support has included one-to-one development sessions, building relationships with writers and performers, running workshops

and rehearsal sessions with Guildhall students across both music and drama… I’m astounded at how huge an enterprise all this is and how utterly focused everyone is on producing the most fantastic work. I spent a week at Guildhall in January doing a full read-through with a band and cast of Guildhall students and it was an invaluable opportunity to have those resources and that range of talent at my disposal. It’s both flattering and daunting to see so many people come together to work on my project.”

The right fit

The project in question did not have an easy genesis, and Philip credits the residency with giving him the freedom to find the right fit. “I initially wanted to work with a completely new text, and Julian, John and I spent a whole year building relationships with writers, which was a rewarding experience in itself,” says Philip. “However, I decided to turn to an adaptation instead. At no point did anyone try to change my creative direction or talk me around – in fact I recall John saying right at the beginning ‘Whatever it is you want, ask for it, and we’ll try to make it happen.’ It’s to the credit of Guildhall and ROH that they were willing to be so open minded.”

Once Philip had settled on an adaptation for his final year production, the pieces started to fall into place. Known for his dark and visceral approach, Philip was drawn to the works of the late playwright Sarah Kane, and the lyrical quality of 4.48 Pyschosis proved particularly compelling.

“I love the formalised, avant-garde nature of Kane’s writing,” he reflects. “I have a long-standing interest in the spoken word and in representations of violence in the arts, so this perfectly fit my aesthetic.”

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“both Guildhall and the ROH have been incredibly open and generous�

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Introducing 2015 Composer-in-Residence Na’ama Zisser

On with the show

4.48 Psychosis chronicles Kane’s struggles with depression, and the accompanying world of medical treatment, therapy and drugs. The title refers to the hour when Kane would wake haunted by desperate thoughts, and the play resonates with disjointed voices and thoughts. Tragically, the play came to represent the author’s suicide note, with Kane taking her own life a few days after it was complete. It’s a dark and unconventional play to adapt for opera, but Philip maintains a clear vision of its musicality.

“I knew I wanted to set a play to music but I didn’t want to take conventional dialogue and turn it into song,” he says.

“4.48 Psychosis is more like a poem than a play, with its use of stream of consciousness and its polyphony of inner voices. It’s incredibly lucid. It’s also very flexible. The play itself doesn’t specify the setting or the number of characters – you could have anything from one to 60. The original production had a cast of three, and we’re using six female singers to capture the polyphonic atmosphere.

“The biggest challenge is that there’s so much text for opera libretto – we have to make time and space for the music around all that. The tableaux combines a great variety of styles, from dark and raucous band music to colourful rhythmic sounds and heartfelt arias. Contrary to expectations, the play itself is actually quite jolly in places. There’s lots of black humour, lots of reflections on the absurdity and banality of everyday life. Yes, it’s about depression and death but it’s also about the protagonist’s search for a deep, intense love.”

As Philip Venables oversees preparations for the debut of 4.48 Psychosis, he will be joined by the second Composerin-Residence Na’ama Zisser, who entered the studentship programme in September 2015. The rehearsals provide a glimpse into the future for Na’ama, as she begins her journey towards the creation of her own original operatic work.

“I’m extremely excited about this unusual opportunity to focus on what I’m interested in within opera and modern storytelling, creating a work that is very personal to me,” said Na’ama at the time of her appointment. “It’s quite rare to have the time to reflect and research, work at my own pace, and have mentorship, support and resources.

This will have an enormous impact on my own creative development and the work produced. I’m very much looking forward to building meaningful collaborations and to exploring ideas to their full potential.”

Having completed compulsory military service as a pianist in her native Israel’s Air Force Orchestra, Na’ama began her compositional studies at the Jerusalem Academy of Music and Dance, before landing prestigious commissions with leading Israeli orchestras. Na’ama continued her studies with a BMus in Composition at Guildhall School and recently graduated with Distinction from the Royal College of Music with an MA in Composition. During her time at the Royal College, she studied under Mark-Anthony Turnage and was awarded the Hurlstone & Cobbet RCM special prize for outstanding achievement.

Na’ama’s work centres around collaborations, with a particular focus on contemporary dance, opera, installations, theatre and instrumental music. Her work has been presented at well-known venues in the UK including Aldeburgh Music Festival, National Portrait Gallery, Sadler’s Wells, Kings Place and the Linbury Studio Theatre at the Royal Opera House.

Recent projects include a work for members of the London Symphony Orchestra with live karaoke as part of the LSO Soundhub residency, Sound & Music New Voices Composer, a Sound & Music Portfolio Residency, and a commission for the London Sinfonietta/Kings Place Minimalism Unwrapped series which will be performed in Tel-Aviv later this year.

Philip’s opera will run at the Lyric Hammersmith from 24–28 May, but while this represents the culmination of the residency programme, it certainly doesn’t feel like the end. “The nature of opera and of this residency is that you gear up towards one big production, but after that there’s the write-up to do and all the professional reflection that comes with the end of a three-year programme of study and creation,” he says. “I’m intensely excited about the show but this has also been a huge learning process for me into how opera gets made. It’s been an eye-opening experience and one that will stay with me for the rest of my career.” gsmd.ac.uk/ROHcomposer 25

TH E IN T ERVI EW

A LESSON IN HARMONY If there’s one person who understands the essence of performance, it’s Athole Still. The former Olympic swimmer, sports correspondent, tenor and opera agent has forged a successful career from a diverse range of skills and interests. In an exclusive interview, Athole shares his secrets with Guildhall’s Head of Vocal Studies, Armin Zanner

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Your career is quite unique in blending sports and opera, both as a performer and an agent. How did this unusual mix come about?

Many people comment on the fact that I’m both an opera agent and a football agent, but actually the way it happened seemed so logical and natural. Sports came first. I was raised in Aberdeen, the only child of two wonderful parents. As a working-class boy my childhood obsession was football, and I played in the street from the age of six until about 10. However my mother also instilled in me a love of music – I’m sure she must have sung to me in the womb, because I had such an affinity for it.

We lived in a little two-room tenement with an outside toilet, yet my mother bought an upright piano and taught herself – and me – to play. Back then, singing was just a fun interest for me, and I never thought of doing it professionally. I won an open scholarship to Aberdeen’s Robert Gordon College, a prestigious institution, which played rugby not football, but they had a swimming pool and a very good coach, so I became a swimmer. By the age of 14 I was swimming for Scotland, and I swam for Britain at 16. For the next 10 years swimming was the main thing in my life, although I somehow managed to fit in an MA in Modern Languages from the University of Aberdeen.

So when did you first consider singing as a potential career?

I enjoyed a hectic, varied career after graduation. I had my own sports roundup programme on Grampian TV and was a regular sports commentator for the BBC, and at the same time I was a partner in my father’s betting shop and to this day I still love horse racing. So there was lots of interesting stuff happening for me but I still loved singing, so I decided to have my voice trained, just for fun. After about a year of lessons I realised that singing, and particularly opera, was what I wanted to do.

I still clearly remember the moment I decided: I was driving home from golf on a Sunday and the duet from Madame Butterfly came on the radio. I was so moved I had to stop the car; it just hit me.

I didn’t want to be naïve about my chances, so I wrote to the Royal Opera House, Covent Garden asking if I could audition for them, more for advice not for a job! I guess they knew of me as a swimmer and were curious enough to agree to see me!

I sang the flower song from Carmen and they told me I had a fine, natural tenor voice, but if I was serious I would need to move to London and go to a proper school. I took classes in basic musical training and composition at Guildhall and Morley College Opera Studio, which was very valuable because I had a lot to learn. From that point on I was absolutely obsessed with singing and opera, to the exclusion of everything else. The strange thing was that I was able to support myself through my media jobs, as a swimming correspondent for The Sunday Times and The Times, so all the time I was focused on singing, to the rest of the world I was a swimmer and sports commentator.

It was a confusing dichotomy.

For many aspiring singers, the major challenge is breaking into what is a very competitive industry. How did you get your break?

I auditioned for Scottish Opera at the Savoy Theatre, for the late, great Peter Hemmings. He said he had nothing for me immediately but he liked me, and would try to find something for me. A few days later I was offered the role of cover for The Simpleton in Boris Godunov. It was to be a baptism of fire.

After a month or so, my wife got a call on a Saturday afternoon asking me to perform that evening, in Aberdeen, as the first cast singer, Duncan Robertson, had taken ill. Unfortunately I was already on my way to Coventry, where Great Britain was swimming against Canada. I was covering the event for The Times. Of course this was in the days before mobile phones, so the only way Isobel could reach me was to leave a message with the pool in Coventry.

I picked up the message and flew into a panic. I asked another reporter to write and submit my article for me (a fact the paper does not know to this day!) and raced for the next flight from Heathrow to Aberdeen, which I missed by five minutes.

My only option was the next flight to Edinburgh, but I then would have no way to get to Aberdeen in time. By happy chance I trained as a pilot with the Aberdeen University Air Squadron, so I rang the Edinburgh Air Squadron and relayed the whole story to them. Incredibly, they arranged for a Squadron Instructor to fly Isobel and I to Aberdeen. I arrived at the theatre in Aberdeen with a police escort, had three minutes at the piano, was sewn into my oversized costume, and suddenly found myself on stage. That was my major company professional debut!

That’s an astonishing story, and of course it was the first of more than 20 leading principal tenor roles. What do you think casting agents saw in you?

Athole with American tenor Bruce Ford

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They certainly weren’t seeing an exceptional voice, I’ll be frank about that. I had a very nice voice, an easy voice, with a dark middle which gave the impression that it was heavier

than it really was. I never pressed it or pushed it; I simply sang with my own voice. I was also lucky to have, if I may say so, an exceptional ear with virtual perfect pitch, so I learned very quickly. I can honestly say that I never once failed to succeed at an audition in those days. I might not have always been offered the biggest roles, but I always left with something.

I was brimming with confidence, and I think that was the secret to my early success. In fact I think it’s one of the most important qualities of any successful singer: confidence will fill in the cracks. The audience can feel it, and they respond to it. Unfortunately I became over-obsessed with reaching the top quickly and that effectively ended my career.

I decided to quit. I looked in the mirror and told myself ‘No bitterness’. Two years later I started my agency, Athole Still International Opera.

Did that experience affect your approach to managing talent?

Absolutely, I always want my singers to learn from my experience, and I won’t represent someone who wants to pursue a repertoire that’s vocally wrong for them or potentially dangerous to their voice. Sadly it does happen too often in the opera business.

The number one thing I try to get across is the importance of knowing what your voice is appropriate for. Never go outside your natural repertoire, that’s one of the big secrets of this business. To use a sporting metaphor, you could be the number one middleweight boxer in the world, but an ordinary heavyweight will kill you if he’s lucky enough to land one blow.

It’s particularly important for male tenors, especially in mastering the passaggio, or voice break. Look at Pavarotti: people think he was born with that voice. No, he was born with a good voice and his teacher taught him to get the passaggio right.

That’s why he never sang a ‘wild’ note, except perhaps for effect.

In that sense you believe that a good teacher, and the right advice, is as important as natural ability?

Athole as Macduff in Macbeth, Glyndebourne Touring Opera, 1973

How so?

I won a Major Award in Music of the City of London, which enabled me to embark on a year-long period of study in Naples.

I worked with a wonderful repetiteur/teacher virtually every day for 10 months. However, I sang too much and pushed too hard. I was young and fit so I got away with it for a few months, and I could hear the improvement, but then my voice started to deteriorate. My coach was used to the big Italian voices, but if you don’t have natural maturity in your voice, you have to be very careful. I was so enthusiastic and eager that I tried to do five years development in 12 months. Young voices are too delicate to cope with that. After one year in Italy, I had messed up my voice. Even more crucially, I had also lost my confidence.

I went out there brimming with confidence and came back almost frightened to sing. After a year of torture, singing badly through many previously booked professional engagements,

Yes, it’s crucial to find the right teacher. They should always give the impression that they want to care for your voice. They must try to instil in you the importance of looking after your instrument. A great teacher will bring out the best in you and give you the confidence that’s needed to perform to the best of your ability. Look at football managers and how often they get sacked – look at Chelsea. Did Mourinho suddenly become a bad manager and the team suddenly become bad players? Of course not. The connection was lost; the connection that gives performers confidence in their abilities and in turn the belief that they can excel. On the other hand, the right manager/ coach/teacher can find a team with young talents, no stars, and they will achieve things that on paper seem impossible.

They’ve been transformed into professional performers, but it cannot happen overnight.

Of course, for young students keen to make their way, that’s a difficult lesson for teachers to impart.

Absolutely. What you’re dealing with here at Guildhall and at conservatoires around the world, is two delicate little vocal folds in an eager 21-year old or younger! Unfortunately there are too few people in the teaching and casting professions who really understand the need to protect the voice, and advise on the best repertoire for that voice. If I could offer one piece of advice to young singers entering the profession now, it would be to work hard, but in a controlled way. Don’t be too obsessed, as I was. Be patient with your voice and allow it the time to build up experience. Be “cool”, enjoy yourself, and look forward to improving tomorrow and every day thereafter.

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Debbie Wiseman rehearsing with the Guildhall Chamber Orchestra, January 2016

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THEN & NOW

Fresh from her successful concert ‘The Film & TV Music of Debbie Wiseman MBE’ at Guildhall, the renowned composer takes time out to share her memories and professional advice with PLAY

T

his January, I had the thrilling experience of returning to Guildhall to conduct a concert of my own film and TV music. With a selection of my scores rearranged as concert suites, it was an incredibly demanding production, and I was aiming for a filmic and glamorous sound, so the performers had quite a challenge on their hands. I can honestly say they were just stunning, and the end result was even better than I could have imagined.

And of course, walking back through the Guildhall building brought back so many memories.

I was one of the first Guildhall students to do a joint principal study, in Piano and Composition, starting in 1981. The two subjects for me went very much hand in hand – the skills you acquire as a performer feed into your craft as a composer, and you have a natural instinct for what will work and what will be enjoyable to perform. My composition teacher, Buxton Orr, liked his students to be able to play a scale on every instrument in the orchestra as he felt it taught you to write sensitively; and that idea has stuck with me throughout my career.

I always felt that Guildhall was ahead of its time. I set out knowing that I wanted to work in media, because my passion was bringing music to life, and it was unique to have drama and music together in this wonderful, friendly, inclusive environment. Sadly, film music is

sometimes viewed as a lesser art, but there was no sense of that at Guildhall – good music was good music.

On the right path

My three years at Guildhall were among the best of my life. I went in as a naïve young composer who could string together a tune, and came out with the skills to write for an orchestra. I also met my husband Tony there – he was a student on the Acting course – so that was another highlight! I loved everything about the experience; the people, the atmosphere, the spirit, but most of all the way it set me on the right path for my career.

Writing for TV and film is an art in itself: working alongside a director you must be able to embrace a collaborative environment, and that’s a whole different skillset to composing in relative isolation.

You have a whole team of people to comment on your work and keep happy, so you have to be prepared to set your ego aside and to listen, and get along with people. I learned many of those skills working in the professional environment at Guildhall and they’ve served me well.

After graduation I had two fun-filled years playing in a function band with my husband while I knocked on doors and started to make my work known.

I didn’t have many contacts so I was starting with a blank page, but slowly I started to build up credits in TV and film. I got my break when a production company I had worked for became very successful, and took me with them along the way. They were making a show for Channel 4 and my showreel – featuring a recording I did with Dave Foister at Guildhall – hit the right desk at the right moment. They were looking for something choral and I’d written a choir piece, so they decided to take a chance on me.

you can sit around and hope the muse visits you – composer’s block is not an option. You have to be very disciplined and get something out, then fine-tune it until you’re happy. I start work early, often sitting down at my piano at 6.30am.

I really enjoy that quiet, peaceful time, when I can focus on the music and not worry about the phone ringing. By 11am I’ve often done the equivalent of a full day’s work, and I can have the afternoon to myself.

Over the years I’ve been fortunate to have worked on a fantastically diverse range of productions. Wilde with Stephen Fry will always be one of my highlights as it opened so many doors for me, as did Warriors with Peter Kosminsky. More recently (and in my sixth collaboration with Kosminsky) Wolf Hall was an incredible experience. There was such an immense love for the book that people couldn’t wait for the TV series to come out, and it built up a wonderful momentum. When we released the soundtrack it went to number one in the classical charts. People responded to it really well.

I have a couple of live Wolf Hall concerts coming up soon, which I’m really excited about. So much of my work is studio-based so I love seeing the audience reaction during live performance. That was one of the nicest things about returning for my concert at Guildhall.

I was also reminded of just how high the standard is, not only in terms of the instrumental skills but also the professionalism. As we were going through rehearsals I was looking at all those young musicians and remembering how wonderful it was to be sitting there, right at the beginning of your career.

At that age there shouldn’t be anything to fear, so I’d tell those students to play with the utmost confidence. Those years are just magical and you don’t want to miss one moment.

Work ethic

Luck and good timing go a long way in this industry. However it’s also important to have a passion for what you do, to understand drama and the role of music in it, and to deliver what’s expected of you on time. I have a strong work ethic and actually thrive on the adrenaline rush of having a deadline. Again, I think of Buxton, who used to say that if you write every day you never run out of ideas. Media isn’t an environment where

Wolf Hall, BBC, 2015

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Class Notes

MUSIC Mariko Brown (Piano/Composition 2000) and Leo Patsalides (Junior Guildhall 1999)

Pianists Mariko Brown and Leo Patsalides studied at Junior Guildhall at the same time just over 20 years ago. Yet they never met, never heard each other play, and have never worked together. Until now.

They recently crossed paths at the 2013 Memorial concert for the late and much missed conductor Frederick Applewhite.

In 1992, as a result of winning the Lutine Prize, Mariko made concerto appearances with Mr Applewhite and the Junior Guildhall Symphony Orchestra. Just a few years later, Leo became a conducting protégé of Mr Applewhite.

In the years in between, Mariko has become a highly respected pianist and teacher. As a composer her piece for the duo, Travels Through a Mist of Chinese Mountains, has been performed to great acclaim.

Leo closed the lid on his piano for the final time in 2004, became a professional conductor and founded the Amati Orchestra, which is today one of the country’s finest amateur orchestras.

All three joined forces in a performance of the Grieg Piano Concerto in March 2016, a short tube ride away from the Guildhall, where it all began 20 years ago.

walk-in structure of colour and light, Alexander was commissioned to create a cross-media performance that filled the entire structure and brought to life the many journeys that could be taken through it.

Alexander has also been appointed Composer-in-Residence with London chamber choir The Cantus Ensemble.

Ariadna Castellanos Pliego (Piano 2005)

Latin Grammy-nominated pianist Ariadna Castellanos was singled out in Vanity Fair’s piece, Jazz on the Loose, which featured a group of musicians described as “The Jazz Youth-Quake”.

Stella Jean Compton Dickinson (Music Therapy 1995)

Stella Compton Dickinson was awarded the Doctor of Philosophy in October 2015 in a ceremony at the Cambridge Corn Exchange, for her ten year NHS based research in music therapy: A Feasibility Trial of Group Cognitive Analytic Music Therapy in Secure Hospital Settings.

Stella’s project was the first randomised controlled manualised Music Therapy Patient Preference Trial to be implemented in a national high security hospital.

The results demonstrated statistically significant improvement in favour of the treatment arm in how patients related to others, with improvements in relating sustained at follow-up.

A higher percentage of treatment participants moved to conditions of lower security over a shorter period of time than those in control.

Alexandra Dariescu (Piano Fellow 2011)

Alexandra has been named Special Ambassador to Romania.

“This is a tremendous honour and I will do my best to live up to the trust that has been invested in me. I’m quite pleased to have been issued with a diplomatic passport also, which will make my travels a lot easier!”

Sameeta Gahir (Flute 2013) Alexander Campkin (Junior Guildhall 2001)

Alexander Campkin’s composition Imagined Cities was the finale of the 2015 Colourscape Music Festival on Clapham Common. In the world’s largest 32

Sameeta Gahir has been appointed principal piccolo of Royal Liverpool Philharmonic Orchestra, where she joins fellow alumni Cormac Henry and Fiona Fulton (née Paterson) to form an all-Guildhall flute section.

Originally inspired by a desire to provide an environment where players of widely differing abilities could share their love of music and the flute, the course has become internationally recognised as inclusive, stimulating and a very special experience for flute players of all ages, all abilities, and all nationalities.

“The eagerness of people to respond to new ideas, develop their skills, or make some small but vital change is key to the success of our course. A trust fund is in place to give financial help to young talented players.”

Arts. Dame Eileen was presented with the prize at the UK Theatre Awards 2015 at the City’s Guildhall last October.

Catriona Carter (TTA 2014)

Cat Carter is now Lighting Designer at Imagination Ltd, where she joins fellow alumnus James Shirley.

Sarah Elizabeth Harrison (TTA 2012)

Sarah has launched her own business, lovelidesignco, selling bespoke handmade leather bags. lovelidesign.co.uk Kate John (SMTT 2001)

Chris Wells (Percussion 1990)

Nicholas Jenkins (Early Music Voice 2005)

Nick’s current engagements include conducting Offenbach’s Mesdames de la Halle for Opéra de Lyon, and Chorus Master for Rameau’s Platée at Paris Opera.

He recently conducted Mozart’s Idomeneo for Blackheath Halls Opera, and was Assistant Conductor to Sir Simon Rattle and the Berlin Philharmonic Orchestra for Richard Strauss Der Rosenkavalier at Baden-Baden Easter Festival.

Prach Boondiskulchok (Piano 2010) and Vladimir Waltham (Cello 2012) Prach and Vladimir are two of the Linos Piano Trio, who won first prize in

the Piano Trio section of the Melbourne International Chamber Music Competition 2015 .

Chris has recently had the privilege of working with American drumming legend Harvey Mason, co-writing a track and appearing as a guest vocalist on the latest album from jazz supergroup Fourplay, Silver, celebrating the band’s 25th anniversary. He has also been collaborating on new material with Grammy-winning Brazilian artist and songwriter Ivan Lins, in addition to playing drums for his European performances. Chris recently released his 4th solo album 3 BEAT featuring Memphis keyboard virtuoso Charlie Wood, and continues to write music for television, published through his own Sound Designs Music and Atabaque Music catalogues.

“I will always be very grateful for my time at Guildhall, for the opportunities that it gave me and the manner in which it expanded my musical outlook”.

Having spent the last three years teaching in the Guildhall School’s Stage Management department, Kate has now left to take up her new post as Scenic Workshop Project Coordinator at the National Theatre.

Jonathan Lyle (SMTT 2008)

Jon Lyle won the Award for Outstanding Achievement in Media Server Programming at the 2015 Technical Theatre Awards.

IN BRIEF Fergal O’Mahony Keyboard Prize

Hannah Watson is the first student to be awarded the prize in memory of talented pianist and alumnus Fergal O’Mahony who died suddenly in September 2014.

New Year’s Honours

Congratulations to former Director of Music, Leslie East, and alumna Professor Helen Odell-Miller, who were made OBE in the 2016 New Year’s Honours list, and alumna Alina Ibragimova who was awarded MBE.

Bryn Terfel (Opera 1989)

Bryn Terfel was presented with Freedom of the City last November, to coincide with his 50th birthday. The private ceremony was followed by a dinner in Bryn’s honour, with music performed by current Guildhall School students Francesca Chiejina, Milan Siljanov and Dylan Perez.

Elsewhere, Bryn’s 50th birthday was celebrated with major concerts at the Royal Albert Hall in London and the Wales Millennium Centre.

War and Peace

DRAMA

Janet Way (Flute 1966)

Janet Way founded and continues to run the Oxford Flute Summer School, which celebrates its 30th anniversary this year.

Eileen Atkins (Speech & Drama 1953)

Eileen Atkins received the 2015 Gielgud Award for Excellence in the Dramatic

Those of you who tuned in to the BBC’s luxurious new adaptation of the Tolstoy classic may well have recognised a number of Guildhall actors, including Lily James as Natasha Rostova, Kate Philips as Lise Bolkonskaya, Olivia Ross as Mademoiselle Bourienne, Chloe Pirrie as Julie Karegina and Ben Lloyd-Hughes as Tsar Alexander. Do you know of any more Guildhall alumni involved?

Please let us know if you do!

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Recent Releases

CDs

Virtuosi of the Baroque

Victoria Baroque Players featuring Andrew Clark (Horn 1986) Marquis Classics

Music for Winds ˇ Janácek, Nielsen, Barber, Hindemith, Ligeti

London Winds, including professors Philippa Davies, Robin O’Neill and Peter Sparks Chandos

Mendelssohn in Birmingham

Jennifer Pike (Violin 2009) with CBSO Chandos

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Before the Love Goes

February 15

Sam Mumford (Leadership 2008) WW Records

NAO Nao (Jazz Voice 2010) Little Tokyo Recordings

King Charles III

Shakespeare Sonnets Mario Castelnuovo-Tedesco

Schumann: Davidsbundlertanze

Ashley Riches (Opera 2012) and Emma Abbate (Opera Studies Coach) Resonus Classics

Cordelia Williams (Piano 2013) SOMM Recordings

Original Soundtrack

By Jocelyn Pook (Viola 1982), featuring Belinda Sykes (Early Music 1989) and Richard Goulding (Acting 2007) Pook Music

Imaginary Symphony and other tales

Anthony Piccolo (Piano Accompaniment 1983) Navona Records

In Memoriam Sir George Martin 1926 – 2016 (Piano/Composition 1948)

We are deeply saddened to learn of the death of Sir George Martin, celebrated record producer and a dear friend and alumnus of the Guildhall School.

Known as ‘the Fifth Beatle’, Sir George was successfully producing classical, jazz and pop records and breaking new ground with his spoken-word and comedy recordings long before Brian Epstein brought the Fab Four to Abbey Road studios in 1962. Speaking to Guildhall School News in 2011, Sir George recalled telling Epstein: “If you want to have the expense of bringing them down to London, I’ll give them an hour in the studio to see what they’re made of.”

When he met the band, he fell in love with them. “It wasn’t anything to do with music. It was falling in love with four men who had charisma. And they were cheeky, they were funny, they were fun to be with.”

Over the next eight years, he produced almost every record The Beatles made.

Sir George studied Piano and Composition at Guildhall from 1946 until 1948, with Oboe as his second instrument. “What I liked about the Guildhall was that it wasn’t just a music school. I found the drama content very attractive… that combination of learning affected me. I’m sure it helped me eventually when I became a producer at Abbey Road… working with a lot of actors…

I could approach them more confidently”, he told us in 2011. We were honoured to have Sir George as a Patron of the fundraising campaign for our new building, Milton Court, which opened in 2013.

In 2006, Sir George returned to the Guildhall School to give a talk about his remarkable career. Following this, students, alumni and staff were inspired to create an unprecedented event in his honour. Tomorrow Never Knows took place in 2008 in the Silk Street Music Hall and Theatre. The event saw Guildhall artists revisit and reinterpret some of the highlights of Sir George’s career in music, as well as spoken word and comedy. Sir George said: “It was amazing, absolutely amazing, because they had done things which were quite outrageous. But they were fantastic too.”

Sir George Martin speaking at Guildhall School, May 2008

Sean Gregory, Director of Creative Learning, recalls: “George was an extraordinary musician and human being to work with. His generous and collaborative spirit shone through. Coming from a relatively humble background, he was very passionate about music education, particularly for young people who may not have access to regular high-quality music-making opportunities. Above all, George loved people. There were no airs and graces to him and I witnessed him having many conversations with people from all walks of life. It’s no wonder that he facilitated such extraordinary musical and artistic results from artists.”

In 2011, Sir George approached us with the idea of setting up an annual music placement for Guildhall graduates on Montserrat in the Caribbean, an island he had been close to since he first visited

with his wife, Lady Judy Martin, in 1977.

In 1979 he set up AIR Studios there, attracting many big names to record.

Following the devastating hurricane of 1989 and subsequent volcanic eruption in 1995, Sir George raised awareness and funds to rebuild the community and its cultural activities. In partnership with the Guildhall School, an annual placement was created for Guildhall graduates to facilitate music projects on the island and inspire young people to engage with music-making. The placement has been running successfully for five years, with MMus Leadership graduate Cris van Beuren currently in post.

This is just one example of how Sir George’s remarkable legacy continues to revolutionise music-making around the world.

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Christine Jackson 1962 – 2016

(Cello 1983) Christine Jackson, the experienced British cellist, has died at the age of 53 following complications from a brain aneurysm in 2009.

Christine trained at Guildhall before taking the role of principal cellist of the Royal Philharmonic Orchestra, the Hallé, the Royal Liverpool Philharmonic and the Australian Chamber Orchestra.

Christine enjoyed a varied career both as a soloist – working with Talarc and Jacqueline du Pré, among others – and as a chamber player, touring with Ashkenazy and York Piano Trios.

Her ventures in pop music included collaborations with everyone from Dame Shirley Bassey to Kylie Minogue.

Christine emigrated to Australia to work with the Australian Chamber Orchestra, where she earned the nickname the Barefoot Cellist. Initially settling in Sydney, she later moved to Queensland, where she encouraged local children to take up musical instruments and worked with didgeridoo artist David Hudson.

Patricia Kern 1927 – 2015

of that time were her interpretations of La Cenerentola, Rosina (The Barber of Seville), Isolier (Le comte Ory) and Isabella (L’italiana in Algeri).

Many international debuts followed: Covent Garden in 1967 as Zerlina Don Giovanni; Washington DC in 1969; Scottish Opera in 1969 in Rossini’s La Cenerentola; and the Canadian Opera Company in 1973 in Rossini’s The Barber of Seville.

Patricia joined the University of Toronto in 1980 as adjunct professor of voice, and taught there for more than 20 years. Patricia’s love of music stayed with her throughout her life, as she once commented: “I love the theatre; I love the stage. It’s what I’ve known since I was five, so it’s in the blood.”

Maureen O’Hara 1920 – 2015

(Speech & Drama 1936) Maureen O’Hara, who has died at the age of 95, is perhaps best known as the Hollywood actress who starred opposite John Wayne in five of his films. Famed for their on-screen chemistry, Wayne once commented: “I prefer the company of men, except for Maureen O’Hara.

She’s the greatest guy I ever met.”

^

(Voice 1952) Talented mezzo-soprano and voice teacher Patricia Ann Kern has passed away in Toronto at the age of 88. Born on 14 July 1927, the singer had an early introduction to music, becoming a child star in cabarets and concerts at the tender age of five. The daughter of a master shipwright, Patricia was the family’s chief breadwinner when her father lost his job in the Depression, and this experience was credited with instilling a strong sense of responsibility and discipline.

After the war Patricia won a scholarship to Guildhall, studying Voice from 1949 to 1952 under Welsh tenor Gwynn Parry Jones. She began her career with Opera for All (1952–55) and went on to join Sadler’s Wells, where she performed as a member of the company for ten seasons. Her most notable achievements 36

Born Maureen FitzSimons on 17 August 1920 at Milltown near Dublin, Maureen had a large family who shared her interest in show business – she once likened them to the Irish von Trapps.

After a number of roles in local amateur productions, Maureen enrolled at Abbey Theatre school, where she was quickly cast in major Shakespearean roles. In 1936 she became the youngest student to complete Guildhall’s Drama course, and by 16 she had been awarded a degree and an associateship by the London College of Music.

Maureen became an overnight star in 1939 playing Mary in Hitchcock’s adaptation of Jamaica Inn. Later that year she played Esmeralda in The Hunchback of Notre Dame, and by the time of her 1941 appearance in How Green Was My Valley Maureen was becoming a firm favourite for wartime romance, historical drama and adventure films. After a short period of low-key

productions she was cast with John Wayne, first in Rio Grande then The Quiet Man. Throughout the 50s and 60s Maureen became known as Queen of the Swashbucklers for her spirited roles.

Maureen spent much of her later life on the Caribbean island of St Croix, and in 1993 was honoured by the British Film Institute for her contribution to ‘moving image culture’. She is survived by her daughter.

Mollie Petrie 1921 – 2016

Mollie Petrie was Head of Singing at Junior Guildhall from 1984 to 2006.

She taught, by invitation, at the Banff Centre for the Arts, Canada, in the winter of 1985. More recently, she was invited to work regularly with members of the Welsh National Opera in Cardiff.

She conducted classes in Ireland, the United States, Belgium, France and New Zealand and lectured at the International Congress of Voice Teachers, Helsinki, in 2001.

As a performer, Mollie sang for 40 years in oratorio, recital and opera, especially as a regular soloist with the BBC West of England singers in recital, and as a founder member of the BBC West of England Singers.

She taught at Dartington College of Arts for several years and helped to found the Bristol Intimate Opera and a group, Hit for 6, for which she wrote a great deal of comic material which led to her one-woman show, With a Frog in my Throat.

Her private teaching practice catered for many well-known professionals as well as amateurs of all ages.

Laura Ponsonby 1936 – 2016

(Piano 1957) Laura Ponsonby studied violin and piano at Guildhall School. The great granddaughter of the composer Sir Hubert Parry, Laura spent much of her life guiding academics around the family archive of his diaries and work,

but ultimately opted for a career in botany instead of music.

Laura joined London’s Kew Gardens in 1965 and spent three decades there as a guide, lecturer and education officer. In 1990 Laura published Marianne North at Kew Gardens, considered a definitive book on the Victorian artist and botanist.

She travelled the world in the footsteps of North, giving hundreds of lectures while furthering her passion and knowledge for plants.

Laura died at the age of 80 and is survived by her nephews and nieces.

Don Rendell 1926 – 2015

difficult compositions whilst he bashed the sequence out in his idiosyncratic way at the piano.

of Music & Drama during the 1970s and 1980s. Many of his students were medal winners and had successful careers.

Don wasn’t the most structured of tutors at times, but you always came away from a lesson feeling very inspired. The anecdotes were always amusing, usually ending with ‘…and the funny thing was Martin, it sounded better than ever.’

My favourite was the one at a gig where his saxophone had fallen off its stand, bending it almost beyond recognition.

‘The only thing I could do, man’, said Don, ‘was to try and bend it back into shape using the back of a chair. And the funny thing was Martin…’

He himself had a long and varied career, singing many seasons at Glyndebourne travelling with Benjamin Britten and Peter Pears to music festivals in Bavaria, singing in many broadcasts on the BBC Light Programme such as Music Tapestry and having a wide repertoire including lieder, oratorio, Scots song and a special link with Thea Musgrave.

Towards the end of one lesson he said: ‘Whenever you play, you always sound happy, and that’s not always a good thing! It’s a good idea to explore other moods and expressions, man!’ Until then, I’d never really considered it. It’s something that has stayed with me and I often find myself passing that gem on to my own students.

Thanks for everything, Don. R.I.P.

He had been suffering from Progressive Supranuclear Palsy for several years.

He leaves my brother, David and me, seven grandchildren and three great grandchildren.

NOTICES Ronald Flanagan 1949 – 2015

(Speech & Drama 1969) Gwyneth George 1920 – 2016

(Cello 1937)

By Martin Hathaway, Professor of Jazz

Duncan Robertson 1924 – 2016

I first met Don Rendell at Monkey’s Jazz Club, Brentwood in 1984 for my first ever jazz workshop. I can remember that day as if it were yesterday. He was a towering presence, and first impressions were that he was rather intimidating, but I was soon struck by his warmth, generous spirit, love of music and his enthusiasm for sharing that love.

Raymond James 1923 – 2016

Former Drama television tutor Dr Brian Trowell FGS 1931 – 2015

Director of Opera, 1963 – 1967

I must have played okay that day, because he remembered me at our next meeting – the first Guildhall Summer School in July 1985. That was the start of a continuing friendship, through the next four Guildhall Summer Schools, and me starting as an undergrad in September 1987 (Don had started teaching at senior Guildhall in 1984).

You never quite knew what was going to happen in a Don Rendell lesson. There could be ‘new’ fingering he’d discovered, a discussion about which sounded the best, or you would try to find your way through one of his new fiendishly

Morag René writes: My father, Duncan Robertson, died recently.

He taught singing at the Guildhall School 37

A DAY IN THE LI FE

Sara Lee Twenty-one years ago, musician and Guildhall alumna Sara Lee was asked to establish the Irene Taylor Trust, an organisation dedicated to bringing the joys of music to vulnerable groups. As she tells PLAY, it’s a role that’s taken over her life in the best possible way

I

’m lucky enough to have a job that combines the two things I love most in life: music and people. As Artistic Director of The Irene Taylor Trust, my job is about shaping and implementing the artistic vision of the organisation – from developing a programme of work in partnership with our office and creative team, to working out the relationships involved and trialling new and unusual artistic opportunities.

It’s a demanding and exciting role, and a typical day for me could range from writing new music with prisoners to flying to Europe to forge new creative partnerships.

Generally speaking, I start my day early so that I can have the opportunity to talk to prison staff. After 9am prison life is in full swing so the best time for a phone call is between 8am and 8.45am, allowing us time to discuss new opportunities, troubleshoot existing projects or simply exchange information.

Our Music in Prisons programme is central to the Trust’s vision to create music and transform futures. The programme is flexible in format but generally involves a five-day workshop of intensive creative music making, which supports a small group of prisoners through the process of forming a band, creating original music, and then professionally recording their own CD. Even today, 21 years in, I’m still amazed to witness the difference that music can make to the way people view their future.

Unfortunately, this is the toughest time I have ever seen for the arts in criminal justice sector, so each day I dedicate a lot of time to reading about how any changes could affect us. The landscape can change at a moment’s notice. I’m on the steering group for the National Alliance for Arts in Criminal Justice, which meets regularly and filters our concerns through to the political system.

It’s really important that I’m able to work with curve balls as and when they appear. The role is visionary but it must also be responsive: it’s not enough to have the ideas, you also have to make sure they work in context. We’re currently laying the groundwork to collaborate again with the Royal Philharmonic Orchestra, so I’m spending a lot of time honing the plan, getting buy-in from the prison system and sourcing funding.

I also frequently travel to set up international projects, recently returning from a Churchill Travelling fellowship to the States and Norway, and I am heading back over the pond next month to work with the Chicago Symphony Orchestra for our fourth annual project.

Whenever I present the work of the Trust I try to bring a previous participant, such as an ex-prisoner or young person from our Making Tracks programme, to perform or speak about their experiences. It’s great that so many people are happy to come back as ambassadors – after all, they’re what it’s all about. Making Tracks has been really successful in expanding the horizons of at-risk young people, and in the evenings I often go along to see the culmination of their project to write new music.

Happily, a large part of my day is still spent on project delivery.

When I set up the Trust, I was clear that I’m a musician, that’s what I want to do. I love the feeling of driving up to the prison and unloading a van full of instruments, ready to meet a new group of interesting people. Prisons are bleak places but music can bring so much joy. This is a very human job, and the stories you hear make it hard not to get emotionally attached. That’s exactly why I love it. It’s an organic and creative process – full of heart. There’s no such thing as a nine-to-five.

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Making Tracks

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Forthcoming events Wednesday 27 & Thursday 28 April Milton Court Studio Theatre

Monday 30 May, 7.30pm Wigmore Hall

Sunday 26 June, 7pm Barbican Hall

Guildhall Jazz Showcase

Guildhall Wigmore Recital Prize: Winner’s Recital

The Hogboon

Free student performances throughout the day.

Wednesday 27 April, 8pm Bobo Stenson & Martin Speake

Thursday 28 April, 8pm Anorak

Friday 6 May, 7pm Barbican Hall

The Gold Medal

Marina Koka piano

Beethoven Piano Sonata Op. 2, No. 3 Brahms Klavierstücke, Op.118 Mendelssohn Variations sérieuses, Op. 54 Chopin Nocturnes, Op. 27 Nos.1 & 2 Ballade No. 3, Op. 47 Ravel La Valse Tuesday 31 May – Monday 6 June, 7pm Silk Street Theatre

Antonina Suhanova piano

Martinu: ˚ Ariane and Alexandre bis

Oliver Wass harp

Timothy Redmond conductor Rodula Gaitanou director

Prokofiev Piano Concerto No. 2 in G minor, Op. 16 Ginastera Concerto for Harp, Op. 25 Scott MacIsaac piano

Rachmaninov Piano Concerto No. 2, in C minor Op. 18

Thursday 2 & Friday 3 June Milton Court Studio Theatre

Guildhall Symphony Orchestra Adrian Leaper conductor

Technical Theatre Arts Graduate Exhibition

For full information and booking, visit gsmd.ac.uk/events To find out about priority booking for Guildhall Circle members, visit gsmd.ac.uk/circle 40

Sir Simon Rattle conductor LSO Discovery Choirs London Symphony Chorus Simon Halsey choral director Guildhall School musicians London Symphony Orchestra

Sir Peter Maxwell Davies The Hogboon (world premiere) Berlioz Symphonie fantastique Tuesday 28 June – Monday 4 July Silk Street Theatre

On the Twentieth Century Book & lyrics by Betty Comden & Adolph Green Music by Cy Coleman Martin Connor director

The Guildhall School is provided by the City of London Corporation.