We are:
BBC Scotland
Dance
BBC Scottish Symphony Orchestra
Drama
BBC Radio 3
Music
Scottish Opera
Screen
Scottish Ballet
Production
National Theatre of Scotland
pinning you to your seat
Royal Scottish National Orchestra
enthralling your senses
Royal Shakespeare Company
flooding you with our dreams
Shakespeare’s Globe
respecting tradition
York Theatre Royal
elite but not elitist
Playwrights’ Studio, Scotland
breaking boundaries
New Moves International
defying expectations
Classic FM
pushing our bodies to extremes
The Arches
wearing out 40 pairs of pointes a year
Glasgow’s Concert Halls
practising one bar for hours
Royal Albert Hall
communicating through technique
Celtic Connections
rehearsing day and night
Edinburgh International Festival
in it for the long haul not the sprint
BBC Proms
appassionato
The Traverse
vivace
The Tron
grand allegro
around the world
virtuoso
doing it for real
gallus
building a character
not the X Factor
developing a voice
the spark that ignites
creating movement
forging new works
making sound
learning from mistakes
provoking emotion
working as an ensemble
making everything happen
performing and learning
the unseen and seen
being the best we can be
defying stereotypes
training as young professionals
raising our game
collaborating with our friends
instilling discipline
making the world go around
the cultural revolution
nurturing talent
carving our own path
learning etiquettes
ready for curtain up
the fire starters
We are:
beyond your wildest dreams
the Royal Conservatoire of Scotland
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We are NOT
Image Viviane Hullin, Contemporary Performance Practice student in her degree showcase performance at Into the New, part of the New Territories festival.
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what you think
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WE ARE DANCE, MUSIC AND DRAMA WE ARE SCREEN, PRODUCTION AND EDUCATION WE ARE UNITED IN EXCELLENCE WE ARE CHANGING HORIZONS AND WE ARE CHANGING OUR NAME We Are: the Royal Conservatoire of Scotland
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Our first year as the Royal Conservatoire of Scotland brings a mixture of intense pride in what we have achieved in our history so far and immense gratitude to those who made it all happen. Over the years the RSAMD has been blessed with phenomenal staff, incredible, talented students, and an extended support network of expert professional artists from around the globe. Not forgetting our passionate supporters, advocates and audiences. Our astounding heritage is who we are today, it is our make up, our DNA. Yet the disparity between our name as the RSAMD and the unique breadth of our disciplines became too great: our title had to change. As the Royal Conservatoire of Scotland we are a testament to all that has gone before and the augur of so much more in the future. We are building on the excellence of our past. Our style is one of a new-model conservatoire. Here, students flourish as knowledgeable and confident individuals, and both students and staff are inspired to generate truly innovative work. Everything we do is underpinned by our desire to achieve routes to mastery. Our students enjoy an extraordinary blend of intensive tuition, professional partnerships, performances and the creative space to co-create across the disciplines, if they wish. It’s thanks to this tremendous wealth of influences and opportunities that each emerging artist excels in their chosen discipline – and goes further to realise their own individual artistic voice. But don’t just take my word for it; the stories and voices on these pages speak for themselves. Together, we are creating the future for performance.
Professor John Wallace CBE, Principal
Welcome
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WE ARE NOTHING NEW and everything unprecedented The Royal Conservatoire of Scotland is at the forefront of the redefinition of conservatoire education for the 21st century. To be this visionary is nothing new; it’s in our nature. Charles Dickens, our first Chair, speaking at our inaugural soiree on December 28th 1847, lauded the boldness of Glasgow in founding such an advanced open model for arts education. Since that moment we have continued to break new ground and create fresh, relevant models for each age and stage of our history. Today, we provide specialized vocational education to professional standards across dance, drama, music, screen and production. Across all these specialisms, we currently have around 800 students on degree programmes. We have our own degree-awarding powers up to taught Masters and work with two of Scotland’s most prestigious universities in other areas: the University of St Andrews validates our PhD degrees; our BEd Music is delivered in partnership with the University of Glasgow. Conservatoires traditionally have specialist feeder schools and we are no exception: our 300-strong Junior Conservatoire has nurtured young talent in music for many years and we are developing to provide parallel provision for dancers. But we go much further than this. We believe in arts for all. We are an open conservatoire. We make our elite quality available to those who can benefit from it, providing a wide variety of open access courses for everyone from early learners to third age returners. Through these, we encourage individual development at almost every stage across performance and production. It’s another distinguishing aspect of the ethos we inherited from our founding Chair in 1847. Image 03
Author Charles Dickens who championed the establishment of the New Athenaeum to further education in the arts, and became its first Chair.
Compositions by students Chris Duncan and Claire McCue were premiered by Ilan Volkov, Principal Guest Conductor, BBC Scottish Symphony Orchestra and played by our new music ensemble MusicLab. Both pieces formed part of the BBC Hear and Now Concert and were recorded for BBC Radio 3.
The invitation to the inaugural soiree at the New Athenaeum, December 28th, 1847.
A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other. Charles Dickens
We Are: the Royal Conservatoire of Scotland
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We Are Unprecedented
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We are:
Our Reason for Being
The Expected
| create the future for performance
A conservatoire founded on excellence with: | intensive learning with high student
staff contact hours and demanding
production schedules
| ensemble-group teaching underpinned
| be the place where young artists from
across the world converge to become the
| a highly vocational portfolio of higher
artistic leaders of tomorrow
education programmes in the making
| become the crucible for the development
of performance on stage, screen and
of Scotland’s national identity as a leading
other mediums
creative nation
by one-to-one tuition
| a learning environment growing out of
| spearhead the creation of a national
infrastructure for performance arts
education
the industry and cultural professions
opportunities for learning, teaching and
assessment
“ANYTHING is possible. There should be no limit to the RSAMD’s vision or ambition for its students. I might have said this last year after their performance of Shostakovich’s Fourth Symphony. I will certainly say it after the students’ elemental performance on Friday night of Mahler’s colossal Sixth Symphony.
Our Aim To exceed expectations through:
| strong, active professional profiles of
The repertoire of our Symphony Orchestra is wide ranging, eclectic - and challenging. In 2010 we focused on the Stravinsky Diaghilev Ballets: The Rite of Spring, Petrouchka and Firebird, and in 2011 our young musicians played Mahler’s Sixth and Seventh Symphonies, and Richard Strauss’s Ein Heldenleben with spectacular results.
| excellence
Our Vision
| a rich schedule of public performance
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Our Driver
| a challenging learning experience with
our staff
each individual
We are:
| the quality and diversity of our students,
The Exceptional
| few conservatoires in the world offer this
| resourcing and managing a world-class
artistic learning, teaching and research
| our contemporary, relevant training
community
ensures our graduates are industry-ready
and equips them to succeed
Our Values
breadth of disciplines
staff and partnerships
Within our learning and artistic community we value:
| our professional partnerships are
| each other – we respect the uniqueness of
each individual and the ability to work and
| our curriculum emphasises developing
play as a team
and assessing the whole person: aesthetic,
| creativity – we are adventurous,
intellectual, physical and emotional
extensive and varied
imaginative and innovative
| we provide access to excellence for all
| integrity – we are open, honest and
with courses aimed at early learners to
third age returners
| generosity and sensitivity – we celebrate
self-aware
| our reputation for innovation and new
| passion – we bring exceptional depth to
work goes before us
equality and diversity our approach to learning and the arts
The performance was an unmitigated triumph.” Michael Tumelty The Herald
Image 02 In September 2010, we opened new premises at a cost of £6m. The complex – known as Speirs Locks Studios – includes specialist dance rehearsal space, technical construction workshops, props and wardrobe facilities and additional teaching and office accommodation. A further £2.5m has been invested in refurbishing and improving the Renfrew Street campus with the creation of a digital media suite, developing additional recording studio facilities, refurbishing performance spaces and creating additional teaching and social spaces.
We Are: the Royal Conservatoire of Scotland
We Are: the Royal Conservatoire of Scotland
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We are THE HEART OF THE NATIONAL CULTURAL REVOLUTION Image The Scottish premiere of Spring Awakening 2010, Edinburgh Festival Fringe. The MA Musical Theatre programme culminates in a three week run at the Fringe with a fully staged production complete with live orchestra and two brand new works by well known writers.
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One of our roles as Scotland’s conservatoire is to create cohesion in the national infrastructure of performance arts education. We partner with Queen Margaret University, Edinburgh Napier, Sabhal Mòr Ostaig, the Scottish Theatre Federation and the further education sector to create the Scottish Drama Training Network. O u r p a r t n e r sh i p w i t h S ab h a l Mò r O s t a i g go e s f u r t h e r to o, w i t h a Memorandum of Understanding agreed in 2009 to work together in partnership to promote and develop Gaelic medium performing arts and in particular to provide new opportunities in Gaelic Drama Training. Another key part of our national identity is ensuring that students can access training in all the performance arts here in Scotland. Testament to this is the growth in our degree offering with the introduction of undergraduate degrees in Digital Film and Television, Musical Theatre, Jazz and Modern Ballet and postgraduate programmes in Musical Theatre, Jazz and Classic and Contemporary Text – all in the last seven years. “For the last 30 years young Scottish jazz musicians, in search of full-time jazz education, have been departing Scotland to study in England, USA, Holland, France and other parts of the world - but now they have a choice to stay and study at our full-time jazz course with our stellar array of world-class educators. Our course also features Masterclasses with jazz legends like Bill Evans, Randy Brecker, Peter Erskine and Arild Andersen. It is vital for the heart of jazz education to be centred here in Glasgow, as the city is at the heart of music making in Scotland.” But not all learning takes place in Glasgow; for the past eleven years the RSAMD’s Musicworks has been nurturing budding musical talent across Scotland, working in partnership with local authorities to bring instrumental lessons to pupils from Primary 1 through to Secondary 6 at its music centres. Musicworks aims to make music available to young people across Scotland regardless of geography or socio-economic background. Its open access policy allows interests in music to be developed and supports new home grown talent to progress to full-time arts training as appropriate. Another part we play is as an intrinsic component of Glasgow’s civic life. The 2014 Commonwealth Games will be one of the largest sporting events ever to come to Scotland and we’re a major player in the accompanying cultural programme. Our involvement started in 2010 when 80 of our students took part in the Delhi/ Glasgow handover. Now, we are one of the key drivers behind the development of a new creative quarter for the city. Part of that will be to transform the streets around us into an Avenue of the Arts, bringing together partners from the arts, hospitality and the commercial sector to create a new cultural hub. “The Royal Conservatoire of Scotland has played a critical role in the development of the performance arts in Scotland over many years. The nation can be rightly proud of this great institution, which has been ensuring our young artists, creators and performers can access training and professional practice of the highest international standards.”
We Are: the Royal Conservatoire of Scotland
015 Image Siobhan Duncan, Jazz student.
Tommy Smith Saxophonist, Artistic Director, Undergraduate and Postgraduate Jazz
Donnie Munro Artist/musician, Director of Development, Fundraising and the Arts at Sabhal Mòr Ostaig UHI, the National Centre for Gaelic Language and Culture
We Are The Revolution
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WE ARE UNIQUELY CONNECTED It’s as though our walls are transparent. Students interface with the industry and vice versa – there’s no barrier so there’s a gradual transition into employment. By the time they graduate they’ve worked with the most important players in Scotland, the UK and internationally. Andrew Panton | Associate Head of Performance, Musical Theatre
We Are: the Royal Conservatoire of Scotland
When students come to Scotland’s national conservatoire they join an artistic and learning community that’s integral to the nation’s vibrant performance culture. We are uniquely placed to partner with a wealth of inspiring professionals and artistic companies. Together, we continuously explore new informal and formal ways to work to our mutual benefit. It’s winwin, many times over. Artists and companies can cover repertoire they can’t do normally. Students benefit from the blend of mentoring and real world experience, working in a professional but supported context. Artists and companies partner with us in innovation and exploration: we’re an ideal test bed for new work. There is an essential symbiosis. Students learn from the wealth of experience; the companies are energized by fresh talent. This freedom of exchange creates an extraordinary context where the leaders of today seed the leaders of tomorrow.
Our partners include Scottish Opera Scottish Ballet BBC Scotland National Theatre of Scotland Royal Scottish National Orchestra Shakespeare’s Globe Royal Shakespeare Company Playwrights’ Studio, Scotland New Moves International BBC Scottish Symphony Orchestra Classic FM
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Thomas Baylis, Modern Ballet student.
Chekhov’s The Seagull was performed with a student cast in our own theatre. It was then remounted in collaboration with York Theatre Royal with a mixed company of professional and student actors.
We Are Connected
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Scottish Opera AN exceptional working relationship A N D T H E world premiere of the original version of P ro k ofiev ’ s Wa r a n d P e a c e
We Are: the Royal Conservatoire of Scotland
Our opera training has acquired an international reputation that attracts singers from all over the wo rl d to s t u dy w i t h u s , a l o n g s i d e o u t s t a n d i n g homebred t a l e n t . O ve r t h e p a s t f ive ye a r s , a n exc e p t i o n a l working relationship has emerged with Scottish Opera. And this relationship benefits more than just our singers: music ians, st age managers and technic al artists all enjoy career development opportunities as students with the company. Since 2009, the Emerging Artist Scheme has given graduate opera students the opportunity of a lifetime: a ye a r o f f u l l - t i m e wo r k w i t h S c o t t i s h Opera to launch their careers. Primarily, singers gain intensive performance experience through understudying or shadowing of principal roles. They al so c o nti nue advanc e d vo c al c o ac hi ng , ac ting , movement and language sessions and receive professional mentoring on working in the industry.
“We’ve worked hard with the Royal Conservatoire to c reate a f ant astic pro gramme, which provides a n e xc i t i n g , p r o f e s s i o n a l , s a f e y e t c h a l l e n g i n g environment where some of the best young singers can be nurtured and encouraged as they begin their careers.” Alex Reedijk Director General of Scottish Opera But the full depth of the relationship is embodied by an opera staged every year at the Theatre Royal Glasgow and Festival Theatre, Edinburgh. In 2010 this was the epic world premiere of the original version of Prokofiev’s War and Peace. In 2011, we revived David Pountney’s original production of Janácek’s The Cunning Little Vixen and January 2012 sees Prokofiev’s Betrothal in a Monastery.
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Matthew Topliss, Modern Ballet student, in the role of Dragonfly in Janácek’s The Cunning Little Vixen (2011), an RSAMD/Scottish Opera production. Matthew has since been asked to join Scottish Ballet for their production of Sleeping Beauty.
Lisa Milne, Soprano, conducting a masterclass with Emerging Artist Marie Claire Breen. Britten’s Albert Herring (2011). One of two operas staged in-house every year with all design and production by Technical and Production Arts students under professional mentors.
Feature | Scottish Opera
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War and Peace Based on Prokofiev ’s original score, War and Peace brought to gether 75 students from our conservatoire and the Rachmaninov Conservatory of Rostov on Don in Russia, with The Orchestra of Scottish Opera. Directed by Irina Brown, the resulting work was of epic proportions, playing to sold-out houses in Glasgow and Edinburgh and receiving 4 and 5 star reviews. Its quality was recognised further afield wh e n i t wa s n o m i n a t e d f o r a p r e s t i g i o u s Ro y a l P h i l h a r m o n i c S o c i e t y Award in 2010. As well as students playing all roles, conservatoire musicians auditioned to play as part of The Orchestra of Scottish Opera, and Scottish Opera’s senior specialist artisans and technicians mentored our costume makers, set builders and stage technicians throughout the process. “As students we were active Stage LX crew and board operators and had to do everything that a professional lighting crew would do – so we got to know first hand how it’s done in the industry. I feel the collaborations between other theatres and the Royal Conservatoire is the best thing they can do – you get to work with real professionals and make contacts. Now, I’m Scottish Opera’s Charge Hand – I’m in charge of employing lighting technicians and am part of the production team that preps and builds all their productions. Over the next year I’ll be touring on a number of different operas.” Alumnus Barry McDonald | Charge Hand with Scottish Opera
“Of all the collaborations the Royal Conservatoire has with the professions, its connection with Scottish Opera is the most unique, simply because students have their own orchestral part. Through the long term mentoring scheme we see their confidence grow and a heightened sense of musical awareness develop because they are involved in the whole process from the first orchestral rehearsal, sitzprobe, stage and orchestra, through to playing in every performance. Students perform in Scotland’s two opera houses. Words of wisdom are passed down during rehearsals from orchestral members and the students begin to see what is expected of them in the profession. At the end our report gives useful criticism on individual progress. It has borne fruit as graduates have been invited to play professionally in every section within The Orchestra of Scottish Opera. The apprenticeship allows them to forge this association with the company.” Lawrence Gill | Sub-Principal, clarinet, The Orchestra of Scottish Opera
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This wasn’t a lecture and it wasn’t a Masterclass: this was working together with and learning from people who do what we aspire to.
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BBC Scotland a Memorandum of Understanding
Gavin Laing | Digital Film and Television alumnus
In 2009 we signed an historic agreement with the BBC so that students from many disciplines could learn their craft inside the BBC’s professional environment. It’s a perfectly symbiotic relationship and goes from strength to strength. “This has provided a fantastic opportunity for BBC staff to work with one of the country’s leading academic organisations and we have already seen benefits in our programme-making from working so closely with the students and staff of the Royal Conservatoire.”
Ken MacQuarrie Director, BBC Scotland
Musicville Musicville was a project which encapsulates so many of the benefits of this unique relationship. It was devised and filmed by students, on a BBC set, with the support of the BBC’s First Assistant Director and Director of Choreography. “Musicville started small but, as happens with passionate creativity, the project quickly blossomed into something truly unique. A musical-film collaboration between Digital Film and Television students and Musical Theatre students, we worked together to write the script and the songs, and under the direction of Andrew Panton we shot the film on the River City set with guidance and support from BBC Scotland. It began life as a module. But by turning a module into an experience, we learned the skills in a work environment that was truly representative of the industry. Working with BBC crew was a really amazing experience for everyone involved.” Our relationship with the BBC Scottish Symphony Orchestra is also extraordinary. Students audition for places on side by side and mentoring schemes, as well as opportunities to perform concertos in public performances. They learn in a professional context and have performed in professional auditoria inc l u d i n g t h e C i t y H a l l s i n G l a s gow a n d London’s Royal Albert Hall for the BBC Proms.
Images 01/02 Musical theatre students being filmed in Musicville, on the set of River City. Musical Theatre students have also appeared on John Barrowman’s primetime TV programme Tonight’s the Night as the regular show choir and on BBC Children in Need.
We Are: the Royal Conservatoire of Scotland
Feature | BBC Scotland
Gavin Laing Alumnus
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BBC Scottish Symphony Orchestra
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Much Ado About Music
Martin McBride BA Acting student
Stephen Chambers Alumnus/Vocalist
Conducting Fellowship
Jessica Cottis Alumna/ Conductor
Donald Runnicles, Chief Conductor of the BBC Scottish Symphony Orchestra, is one of the most highly regarded conductors in the world. The Conducting Fellowship scheme provides the opportunity for a student to work under his tutelage during their studies at the Royal Conservatoire of Scotland. Jessica Cottis was Conducting Fellow from 2009 to 2011. “ T he Fe l l owshi p re pre s e nt s , for m e, t he perfec t c om binat ion of listening, learning, practice and fruition – no other gives anywhere near the same possibilities. It honed my skills and also developed the many-faceted leadership and communication skills required for a conductor today. Particular highlights include working closely with Donald on works such as Ravel’s Daphnis et Chloé, Wagner’s Die Walküre, and Mahler’s 1st, 3rd, 4th and 8th Symphonies. I’ve gone on to conduct the BBC SSO professionally on several occasions, most notably in the recent world premiere of James Dillon’s Nine Rivers, and in the last two years have also made my BBC Proms debut with the RSAMD’s MusicLab Ensemble, conducted over a dozen premieres, worked on operas such as Le nozze di Figaro, War and Peace, and Albert Herring, conducted education concerts with the BBC SSO and Sistema Scotland, and shared the podium with Donald Runnicles himself. My musical journey within this world-class partnership over the last two years has been incredibly rewarding and, with my debuts at Scottish Opera and Nuremberg Opera, amongst other engagements, lined up for 2012/13, I am already well on the way to a successful conducting career.”
We Are: the Royal Conservatoire of Scotland
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Much Ado about Music was a collaboration with the BBC SSO that consisted of a semi-staged performance of Shakespeare’s comedy Much Ado About Nothing along with incidental music by composer Erich Korngold. Students from our BA Acting programme joined with leading professional actors, including alumna Daniela Nardini, as well as Masters opera student Stephen Chambers, with the concert recorded for broadcast by BBC Radio 3. “Working with professional actors is one of the most useful and enlightening things you can do as a student of acting. You get to share time, thoughts and ideas with people who are more experienced in their craft, particularly in a professional context. A great thing about this piece was the chance to work with Jonathan Best, direc tor, and Ryan Wigglesworth, conduc tor and the orchestra themselves. Although you are a collective of people from varying backgrounds of performance, be it director, musician or actor, you quickly realize there is very little difference in how you bring the piece together; you are striving towards the same means, as with any production. You still have to develop that same sensitivity, respect and openness for your fellow performers. This in itself reminds you of your place within the context of performance. As an added bonus it makes you up your own game; it’s a bit daunting following an orchestra that doesn’t put a note wrong. I found this whole collaboration thoroughly enlightening and enjoyable and it is the word ‘collaboration’ and what it means that I’ll take away with me. It’s a sensitivity, a love, a dedication and a respect that does and must exist at the heart of any form of great performance. Past, present and future.” “The RSAMD also gave me the opportunity to sing as a soloist in Vaughan Williams’s Serenade to Music with the BBC SSO in the Proms 2010, conducted by Donald Runnicles. Singing as a soloist with an orchestra of this calibre on two occasions in the past two years is a phenomenal opportunity and one that I don’t believe could be matched by any of the other Royal schools in the UK.”
Part of the collaboration with the BBC SSO is the unique opportunity for our conducting students to be coached by Donald Runnicles, General Music Director of the Deutsche Oper Berlin and Chief Conductor of the BBC Scottish Symphony Orchestra with the full orchestra. This masterclass was open to the public and recorded by the BBC. Jessica Cottis, Alumna/Conductor. Students can audition to play side by side with the BBC SSO, Royal Scottish National Orchestra, and Scottish Ensemble, providing an exceptional learning experience for outstanding young talents.
Feature | BBC Scotland
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Scottish Ballet Image 01 Nicolas Blanc, Ballet Master, Joffrey Ballet, Chicago, working with students in the new studios at Speirs Locks.
The launch of the undergraduate Modern Ballet programme in 2009 means we are the only conservatoire in the UK to teach the three main ar tistic di sc iplines of music, drama and dance at conservatoire level. The programme is delivered in collaboration with Scottish Ballet, under the artistic direction of Paul Tyers, Deputy Artistic Director, Scottish Ballet. According to Nicolas Blanc, Ballet Master, Joffrey Ballet, Chicago who is closely involved with the programme “The school of dance represents a unique opportunity to train in both classical tradition and contemporary technique. This dual training is now demanded by many of today’s best dance companies. Furthermore, it gives the students the chance to obtain a BA in Modern Ballet, which will help them to also pursue a pedagogical career later on if they wish.” The existence of the degree allows us to nurture exceptional talent in Scotland in a way which was never possible before. Already Matthew Topli ss, only in his second year, has been chosen to perform in Scottish Ballet’s Sleeping Beauty production. He has got this on his own talents – not just because of the Royal Conservatoire – but the close links meant that he was very much on the radar. It wouldn’t have been possible to support a programme like this without professional facilities and creating physical space suitable to the needs of our young dancers was of huge importance. That space came to life in the development of the new studios built at Speirs Locks.
In an article at the time of the launch, Mary Brennan of the Herald said “Nine months ago, the RSAMD’s new high-spec studios were a rat-infested warehouse – now they define the future for developing the arts in Scotland. It’s an unexpected Tardis moment. On the outside, the new Speirs Lock Studios on Glasgow’s Garscube Road resemble a long, low unit of brisk industrial storage. Step inside, however, and you enter an airy, expansive complex giving the Royal Scottish Academy of Music and Drama the kind of workshop facilities most dance or theatre companies can only dream about. High ceilings with natural light flooding in through generous skylights combine with a ventilation system geared to hard-working bodies with muscles that require a certain level of warmth. For Paul Tyers, head of the BA (Modern Ballet) department, the new studios are like a home from home. “You don’t want conventional air-conditioning when you have dancers standing doing exercises at the barre. The cold air hits them like wind chill,” he says. “And you don’t really want the noise either. And for me, this kind of care – the finish in the building, the space provided so we can have a pilates studio and even a quiet room for dancers to relax in – is amazing. This is the standard we have at Scottish Ballet – a standard not every dancer enjoys either during training or even in their professional career.”
Feature | Scottish Ballet
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National Theatre of Scotland The Royal Conservatoire has enjoyed a close working relationship with the National Theatre of Scotland since its creation in 2006. Our Vice Principal Maggie Kinloch is a founding member of the NTS Board and Vicky Featherstone, Artistic Director of NTS, serves on the Conservatoire’s Board of Governors. Alumni Simon Sharkey (Associate Director NTS Learn) and Niall Black (Technical Director), fulfil senior roles in the National’s organization and our graduates and current students are regularly employed in a range of technical, administrative and artistic roles. Our production staff and students have close and frequent interactions with the company which include masterclasses as well as student placements. The acting company for the most recent international tour of the immensely successful Black Watch included one final year Acting student, Jack Lowden, and three recent graduates, Scott Fletcher, Adam McNamara and Stuart Martin. The 2009 UK tour of Peter Pan starred two of our then second year actors Kevin Guthrie (Peter) and Kirsty Mackay (Wendy). Royal Conservatoire performance students (Acting, Contemporary Performance Practice and Musical Theatre) also benefit from our partnership with the National Theatre in the biennial event Diaspora. Diaspora aims ‘to b r i ng the atre ar ti st s to ge the r to c o nne c t with each other and have a conversation as a theatrical community that reaches across the world.’ For our students this is a phenomenal opportunity to mix with leading practitioners from different countries a s t h e y sh a re , d i s c u s s a n d demonstrate their practice with Scottish artists. The explorations are supported through a programme of masterclasses, workshops, sharings and discussions. In 2011 our workshops were hosted by the Traverse Theatre in Edinburgh and we welcomed eminent artists from Argentina, India, Sweden, the USA and the UK.
Image 01 Emun Elliott in the 2008 production of National Theatre of Scotland’s production Black Watch which also featured Ryan Fletcher and Duncan Anderson, (final year acting students).
(Photo: Manuel Harlan)
Feature | National Theatre of Scotland
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WE ARE IN TOUCH WITH THE WORLD
This focus on supporting students to develop the professional know-how and etiquette they will need to build a successful career is something we are proud of. We take pains to provide many types of opportunity to learn from the experts. That’s why we arrange for numerous directors, artists and designers to visit regularly and keep our students in touch with what is happening out there, at the leading edge. While we are based in Scotland, our bigger context is the international scene. We prepare our students to work anywhere in the world. Our International Fellows Scheme welcomes world renowned artists to spend set periods of time with our students every year, broadening students’ horizons and exposing them to inspiring artists of the international cultural and creative industries. Our international outlook is reflected, too, in the diversity of our staff and students, and in our repertoire: there are many collaborative projects with international partners from St Petersburg to Sydney.
We Are: the Royal Conservatoire of Scotland
You can have talent, but talent doesn’t always equate to a sustainable career. What we do is nurture that creative spark and turn it into an employable commodity. Adam McIlwaine | Head of Production Technology
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We are lucky to have some of the world’s most prestigious artists as our International Fellows. Usually spending around three weeks a year working closely with students, they provide an exceptional dimension to learning and finely honing individual talent. Here pianist Stephen Osborne works with a student.
MA Classic and Contemporary Text is an intense programme which sees acting and directing students spending a month at Shakespeare’s Globe in London working with resident artists, before going on to develop new work with leading Scottish playwrights in their third term. These new works are staged at external venues such as the Tron, Glasgow and the Traverse, Edinburgh before heading to London.
We Are In Touch
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Image In the 7 years the Digital Film and Television programme has been running, students have: won two BAFTA Scotland New Talent awards; been nominated for a British Academy Award for Best New Work; won five Royal Television Society of Scotland awards for Best Undergraduate Fiction and two national Royal Television Society awards for Best Undergraduate Film; had numerous winning entries in Scottish Students of Screen; and been runner up in the BBC Film Network, Best Comedy Short and the Kodak Prize for Cinematography.
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Transatlantic collaborations S cottish M usic Begun in 2010, this unique collaboration, The Atlantic Seaway Project, looks at how Scotland’s traditional and contemporary music has travelled around the world. It is a partnership project with the University of Strathclyde and Berklee College of Music in Boston. In the first project, UK students met their counterparts in Boston, and devised and performed new pieces at the New Hampshire Highland Games; in the second, Berklee students came to the UK and participated in Celtic Connections International Festival; in the third rendition, all students worked together at the Lorient Festival in France. “Meeting other musicians abroad who are studying the same type of degree was a great experience. Seeing first-hand the passion and drive that the Boston students feel for their music was unbelievable – amazing ideas developed throughout the rehearsals and from just sitting around playing together, really pushing the boundaries. Throughout our different ventures, we discovered lots of interesting crossovers that have occurred in Scotland’s music over the years and being able to get that across to audiences and let them hear it was a great opportunity. It allows people to see the path that our amazing music has taken over the years as well as getting people excited about where it is now. Being able to go out to Boston in 2010 and the Lorient Festival in France this year has really allowed us as players to experience first hand the rehearsing and the touring aspec t of being a music ian. Working collaboratively as part of a group of 15–20 players is a skill that we are all only able to develop and enhance by actually doing it!” Grant McFarlane accordion student at the Royal Conservatoire of Scotland.
“We had worked up three big sets that we were going to perform – Gaelic songs, Scottish Traditional music and American old-time tunes that have developed from the original Scottish tunes. They have the same name and possibly the same key but otherwise are completely different. We had taken and reworked these tunes before sharing them with the Scottish students. The group worked so well together and everyone was inspired by everyone else. When we went to the New Hampshire games it was amazing to have the US and Scotland students performing together. In January 2011 the seven Berklee students c ame over to Scotland and we played at Celtic Connections. It was a crazy week as we were all so busy. We played in the Strathclyde Suite and recorded for BBC ALBA TV. It was really inspiring and for the American folk, their first time in Scotland. It was fantastic to have the exchange of musical ideas and perform in both countries. I think it was a great opportunity and it really opened up our eyes as to what’s happening in the trad scene. I think it’s really important for folk in the US to see that there is progressive trad music happening. It’s been a slow process for people to grasp onto and see that it’s not just ‘hokey’ music.” Hannah Read fiddle player, singer and student, Berklee College of Music, Boston, USA.
Images 02/03 The Artistic Director of the Scottish Music programme is one of Scotland’s most well known traditional musicians, Professor Phil Cunningham. The Piping programme is run in conjunction with the National Piping Centre. Students take part in Glasgow’s Celtic Connections Festival every year, now one of the world’s most renowned traditional music festivals featuring 1500 artists over 18 days.
Image 01 Lauren Weir, Scottish Music student.
We Are: the Royal Conservatoire of Scotland
Feature | Scottish Music
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WE ARE THE SPARK THAT IGNITES NEW WORK With the bedrock of a solid education in tried and tested classic al techniques, we encourage exploration of new territories. We provide the right conditions for our staff, students and external practitioners to roam across the scope of their imaginations and create new work. New Moves International, producers of the award winning New Territories festival, has worked in partnership with the BA Contemporary Performance Practice programme for many years. In 2009 it brought the Contemporary Performance Practice annual degree showcase Into The New, under the wings of the festival to give it a much deserved international profile whilst highlighting the uniqueness of the course in the UK. Since 2010 graduating artists have also been supported by the festival’s Athena Programme that partners two individual graduating artists with mentors most suited to their practice, offering a year where the artists can continue to flourish under the guidance of a professional artist/teacher who is well respected in their field. The first year out of the support structure of an academic institution can be challenging for emerging artists and the Athena Programme offers one solution to such a challenge. “NRLA is an unrivalled opportunity to engage with some of the world’s most innovative, radical talents and with work that resolutely crosses boundaries of form and cultural taboos.” Mary Brennan, The Herald “NRLA is one of the world’s artistic wonders. Each year in Glasgow an international community of artist-innovators of all ages, disciplines, and inclinations congregates to remind one another of the things they believe in. Be prepared to have your life changed.” Michael Mayhew, 2008 “Taking part in The National Review of Live Art as a student is a mindblowing experience – what you are looking at are things you have never seen before – the kind of performance work is totally out of your understanding in a sense. Being in a community of people who have such a diversity of world views is amazing and it teaches you so much about the ways of looking at the world, which aren’t necessarily the way we are asked to look at the world all the time.” Nic Green is a graduate whose production Trilogy was a run away success at the Edinburgh Festival Fringe 2009 before transferring to the Barbican, London
We Are: the Royal Conservatoire of Scotland
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Stephanie Elaine Black in her devised performance for Into the New, part of the New Territories festival.
Students on the Contemporary Performance Practice programme are provided with multiple opportunities to explore performance in different contexts. These include working in prisons, schools and with community groups. Many gain experience as tutors on our short courses for children.
We Are The Spark
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Watertight Feature on new musical Watertight by playwright D ouglas M axwell
Watertight brought together Douglas Maxwell, composer Richard Taylor and director Philip Howard, and commissioned them to develop a new musical with students on the MA Musical Theatre programme. The production was developed with the support of Playwrights’ Studio, Scotland. “I’ve worked with students here on and off over the past ten years. I’ve worked with actors, directors, musicians, composers and now musical theatre students and it’s always like morning – it’s like starting afresh and it’s optimistic. This is brand new for me, writing musical theatre, working with composers and singers and that has been absolute joy – they work so hard, they’re so talented and it’s a complete pleasure. Watertight is a story that everyone’s very excited about, it’s something from nothing that’s absolutely tailored to each of those students and that’s really exciting. I’m out of my comfort zone with the script and Richard’s out of his comfort zone too and Philip the same. I’ve got that tingly feeling that this one could be really good. And that’s something that doesn’t happen much. In a conservatoire atmosphere you’re encouraged to experiment but it’s also protected so the experiments become far more exciting and dangerous. But there are certain fixed things as well, certain people, certain accents, so on the one hand you’ve got restriction and on the other hand you’ve got complete and utter freedom and that’s a good mix for pushing really great work through. We’re all learning something new and that’s been an experience for everybody.”
I’ve got that tingly feeling that this one could be really good.
We Are: the Royal Conservatoire of Scotland
Feature | Douglas Maxwell
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Plug a new works music festival composition A N D ballet
Scotland’s most ambitious and daring new music project… It’s not a festival, it’s actually a phenomenon. The Herald
We Are: the Royal Conservatoire of Scotland
Plug i s our annu al contemp orar y music festival dedic ated to first performances of new works by students and staff. Now in its sixth year and with over 300 new works under its belt, Plug continues to be a highlight in Scotland’s musical calendar. “One of the highlights of my year was working with BA Modern Ballet dancers, resulting in an exciting choreography-composition collaboration. I c o mp o se d t wo d i f f e re nt p i e c e s a n d wo rke d c l o s e ly w i t h o n e choreographer in particular, Anna Clifford, creating a substantial piece of work, fRagmEnteD for 13 musicians and five dancers, where the concept, choreo graphy and music we re t r u l y i n t e g r a t e d f ro m t h e b e g i n n i n g . Following a succe ssful live performance at Plug, this was then given a repeat performance in the Modern Ballet degree programme’s end of term show, and I’m working with the choreographer again to create a more ambitious work this year. As well as facilitating vital recordings of your compositions, many of the concerts also receive professional reviews and press coverage. This year another student, Chris Duncan, and I were fortunate to be involved in a collaboration with the BBC, to compose a piece which was performed by Musiclab and conducted by Ilan Volkov as part of the BBC Hear and Now concert at the Old Fruitmarket on the final night of Plug. It was later also broadcast on BBC Radio 3. For me, participating in and reflecting on Plug was an invaluable experience and helped me spread my wings as a composer.” “I choreographed a nine minute piece in collaboration with Claire McCue for Plug 2011 and it was the highlight of my year. fRagmEnteD was inspired by the colour red; the contradictory nature of its connotations - freedom versus war, confidence versus fear - made it an interesting influence on the work, leaving space to explore its symbolic and emotional meaning. Claire and I worked together throughout the creative process, brainstorming, creating and critiquing. The amazing advantage of making an original piece is that there is always room for modification. If my vision required another four bars, Claire composed four additional bars and if the sound of her score evolved into something different, I was able to change the dynamic or speed of the movement. I learnt to trust my instincts and have faith in my innovation, and however terrifying that may have been it made the project real. Plug is an opportunity to explore and express your creative dreams. It’s a chance to bring your ideas to life and learn from the process.”
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Thomas Baylis and Natasha Robertson, Modern Ballet students in fRagmEnteD, composed by Claire McHugh and choreographed by Anna Clifford.
Steve Forman, PhD student performing in Plug.
Feature | Plug
Claire McCue Alumna/Composer
Anna Clifford Student/Modern Ballet
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WE ARE THE CATALYST FOR COLLABORATION
We’re the only conservatoire in the UK to offer such a rich range of artistic disciplines – and there are few in the world offering the same breadth. One of the key benefits of this is that we can encourage students to initiate and develop ideas with those from other disciplines. This, in turn, lends fresh perspec tive to the student’s own ar t f o r m a n d expands its potential. These insights develop i n te r p e r s o n a l sk i l l s a n d t h e ab i l i t y to le ad and innovate. As a result we provide a perfect platform for research into the performance arts. “The way to thrive and grow as an artist is to listen. After working in many different countries, with many writers and librettists, directors and dramaturgs, stage managers, set and costume designers, I now realize that creating music and theatre requires non-hierarchical participation from experts in all these areas. Risks are taken and trust is required, but something more than the sum of parts is possible when everyone has a compelling reason to be involved – a stake in the process and genuine ownership of the result.”
Dr Gareth Williams Our excellent RAE 2008 result showed that 85% of the Academy’s research in music is of recognised international quality. Gareth Williams was attracted to our thriving research programme because he could pursue his artistic research, work with artists across a spectrum of disciplines and take advantage of our professional contacts. His PhD gave him the creative space to explore and develop his unique compositional voice. The culmination of his studies was Love in the Blue Corner (2006), a fully staged chamber opera involving a full-sized boxing ring. His career has flourished as a composer of operas including The King’s Conjecture (2008, libretto Bernard McLaverty), for Scottish Opera, The Sloan’s Project (2011) combined with a teaching post in composition and creative and contextual studies at the Royal Conservatoire, inspiring the next generation of composers.
Dr Gareth Williams
We Are: the Royal Conservatoire of Scotland
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Lynn Ferguson in Edwin Morgan’s Gilgamesh. Gilgamesh brought acting and music students together in this verse play translation of the Sumerian epic.
Love in the Blue Corner, a fully staged opera by Gareth Williams involving a full-sized boxing ring.
We Are Collaboration
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WE ARE ELITE BUT NOT ELITIST W E A R E N U RT U R I N G TA L E N T AT E V E RY AG E A N D S TAG E
It’s important to us to make our conservatoire-quality provision open to as many people as we can, encouraging individual development at every stage. This includes everyone from youngsters from as far away as the Scottish Highlands and the North of England travelling through for the Junior Conservatoire of Music on Saturdays, to experienced professionals and teachers pursuing professional development. In fact, we offer many courses outside the core undergraduate and postgraduate degrees. Conservatoires traditionally have specialist feeder schools and we are no exception with our Junior Conservatoire nurturing young talent in music and dance. There are also a growing number of specialized summer schools, weekly classe s, evening and weekend courses across dance, drama, film, production and music, and numerous short courses. “I’ve been coming here since I was ten. We didn’t have drama at school so it was always something to look forward to - five hours every week, which was more fun, more practical and everyone got on. It’s like being part of a family – everybody works together and everyone wants to make a good play. Every single play I’ve done has been to a great standard. The tutors are supportive and it has been quite stressful as well because you’re young, you’re scared and on the night it feels like you’ve been punched fifty times in the stomach. Then you go on and you say your first line and it just goes away and you just enjoy yourself. And then you take that final bow and it’s the best feeling ever. It’s like having another parent when you come in here - they are so wonderful. We’re all here because we all share the same wishes and dreams and they are the perfect people to guide you in that direction.” Nebli Bahia Drama class student
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Ryan McLaughlin, one of our drama course participants in Blackout by Davey Anderson.
Our Junior Conservatoire of Music is for talented young musicians aged 7 to 18. We welcome 300 students every Saturday from as far away as the Scottish Highlands and the Lake District. Open access courses for young people start at 6 months for our Early Years music programme and aged 5 for our drama courses.
We Are: the Royal Conservatoire of Scotland
We Are Elite
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WE ARE AT THE TOP OF OUR GAME World-class talent and tuition demand nothing less than first-class facilities: a prerequisite of the conservatoire experience. We believe excellent facilities support excellent performances; that’s why we value them. Our facilities are amongst the best in Europe and are being enhanced through additional investment in a three-stage programme, to ensure our competitive position. They facilitate nearly 500 performances every year, with around 40,000 tickets issued every year. Stage 1 saw the opening of Speirs Locks Studios in 2011. The development, by renowned Malcolm Fraser Architects, provides expanded accommodation for Technical and Production Arts, Musical Theatre and Modern Ballet, including four large high-specification dance and musical theatre rehearsal studios and design, set and wardrobe construction studios. This development puts the Royal Conservatoire at the heart of an ambitious urban regeneration programme supported by Glasgow Cit y Council. It is a cornerstone in the creation of a hub of artistic activity in this part of the city, with our partners Scottish Opera and the National Theatre of Scotland directly adjacent. Stage 2 involved intensive refurbishment of facilities at Renfrew Street, providing enhanced IT facilities with a digital lab and second recording studio in addition to the existing two concert halls, a black box studio, proscenium theatre and the prestigious Alexander Gibson Opera School. Stage 3 will see further development at Speirs Locks to provide further rehearsal facilities.
Stage Technologies In 2008 we introduced specialist training in stage automation using a state of the art system from industry giants Stage Technologies. In so doing, we became the world’s first industry-endorsed training provider of this equipment, used in major productions around the world.
Red One With the acquisition of the RED One digital cinema camera, students on the Digital Film and Television programme became the first in the UK to shoot in RED HD Cinema. In 2011 this was supplemented by the purchase of the RED Epic, meaning our facilities for shooting film and television are unsurpassed. Images 01/02/03 Madeleine Hillmann, Technical Production Arts student testing out the flying equipment. Our Technical Production Arts programme is based on hands on, practical learning supported by excellent facilities including a full size paint frame, wardrobe and costume making studios and props workshops. Students gain an immense amount of practical experience working on the vast range of productions staged at the Royal Conservatoire, and externally, when they are mentored by industry professionals.
Image 04 The New Athenaeum theatre, one of six professional standard venues at our Renfrew Street campus.
We Are: the Royal Conservatoire of Scotland
We Are At The Top
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WE ARE THE RESULT OF OUR SUPPORT
From our first day as the Glasgow Athenaeum in 1847, visionary thinkers and supporters at home and abroad have enabled us to grow and flourish. Our vision and values are inspired by 165 years of solid experience and we are fortunate to enjoy deeply seated support nationally. The Scottish Funding Council has been especially important in this regard. As we move forwards, the responsibility for funding our work must now be shared by a much larger and more varied circle: charitable trusts and foundations; corporate organisations; individual donors; people who leave a legacy or bequest; regular ticket buyers; event attendees, and the many artists who participate in the performances we produce each year. Together, our supporters are helping us continue to produce world-class artists, develop new academic initiatives, provide the best learning environment and offer outstanding experiences for our audiences. Every grant, donation, legacy or ticket bought makes a difference and affects every student and every teacher, every day. It means that the very special experience we offer to young artists starting out on their careers can continue to evolve.
We Are: the Royal Conservatoire of Scotland
Puleng Mabuya, alumna, Technical Production Arts
Sean Shibe, student, award-winning guitarist
S o u t h A f r i c a n P u l e n g M a b u y a i s a Te c h n i c a l Produc tion A r t s g rad u ate a n d a member of the team who won ‘Stage Design Team of the World’ at OISTAT in South Korea. “I received a bursary from the National Arts Council in South Africa and a scholarship from the RSAMD, not to forget several private sponsors. To be honest I couldn’t have made this dream come true if it wasn’t for the help of these people. In my years in Scotland I met and had a few lessons from Mr Francis Reid, Pamela Howard and Joan Armatrading. Meeting them taught me a valuable lesson: dreaming big is vital and never ever lose sight of your goals or dreams because you don’t know what tomorrow holds for you. I was truly blessed to be a member of the team that went to South Korea. I did sound design for the project and I’ll cherish the experience of winning the award for the rest of my life. I’ve just come back from Kinshasa, Democratic Republic of Congo, for their International Festival - I went there with Vuyani Dance Theatre as a Technical Manager for the dance piece called Beautiful Me by Gregory Maqoma.”
Guit ar student Se an Shibe, won the prestigious international Royal Overseas League’s Award in 2011, the second guitarist ever to have done so. “My tutor encouraged and pushed me, and prepared me for competitions and concerts in a way that I feel no other teacher could have done. He brought the cream of the guitar world to the Academy’s doorstep, not uncommonly resulting in engagements that are testament to his intimate understanding of the everchanging industry. The Academy has been of great help in generously funding my forays into many international competitions abroad – without the significant support that I received, I almost definitely would not have been able take part and achieve so much.”
We Are Supported
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WE ARE ONE STEP AHEAD O u r g r a d u a t e s a re e n t e r i n g a d i f f e re n t wo r l d . The environment of the performance arts is changing and will continue to e vo lve . We ’ re a l re ady k n ow n f o r d e ve l o p i n g graduates who are best equipped with the skills they need for their careers. Over the past three years we have been working with staff, students and a panel of international experts to take this one stage further. Our new curriculum which is introduced in academic year 2012/13 builds on our reputation for developing reflective and adaptable artists by creating the space and support for this to flourish. Each student will be exposed to an even richer variety of influences to encourage their unique qualities as an artist. It creates the space for not just disciplinary excellence but the opportunit y for transdisciplinary work.
Our new curriculum |
Develops excellence alongside high levels of reflection.
As a result of our new curriculum our graduates will: |
Be excellent and reflective arts practitioners – able t o lead, create, achieve and innovate.
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Have the creative attitudes and skills for working with others and be able to work well with ambiguity and unpredictability.
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Be able to take responsibility for their own professional development and be resourceful, independent and effective in their approach to managing their life and work.
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Have insight into a diversity of artistic fields and experience of what is required to succeed in their individual arts practice. They will be professionally oriented, have an entrepreneurial outlook and be able to respond positively to the challenges and opportunities presented by a fast changing and dynamic world.
| Fosters the creative attitudes and skills needed for | collaborative learning in and through practice. | Enables student to take responsibility for managing and evaluating their own learning. | Provides students with insight into a diversity of | artistic fields and experience of what is required to succeed in their individual arts practice.
“The new curriculum will produce independent, thinking artists who will push the boundaries rather than people who will fit into an orthodoxy; the Royal Conservatoire of Scotland will be a crucible of innovation, highly connected to the creative economy.” Gillian Moore | Head of Contemporary Culture, Southbank Centre, London and member of the Royal Conservatoire of Scotland International Advisory Committee
Have the theoretical understanding to inform their practice and for their practice to inform theory. They will have sophisticated aesthetic intelligence, integrity and insight with the ability to think analytically and critically. Have a clear understanding of how their art form connects to the world around them.
| Develops the ability to use theoretic understanding to inform practice and practice to inform theory. | Enables students to make a contribution in the world as artists, educators, advocates and active citizens.
We Are: the Royal Conservatoire of Scotland
We Are One Step Ahead
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WE ARE THE NOW
AND THE FUTURE June Binnie (2005) – Principal Timpani with Sinfonia Finlandia under Music Director Patrick Gallois. Sinfonia Finlandia Jyväskylä has recorded extensively and has released music for some of the largest classical music publishing companies, including Naxos. Emun Elliott (2005) – Actor. Hailed by Screen International as ‘one to watch’, Emun plays Marillion in the HBO series Game of Thrones and has recently been filming the new Ridley Scott science fiction film Prometheus due for release in 2012.
David Tennant Actor
Lisa Milne Soprano
Alan Cumming Actor
James McAvoy Actor
Lorna McGhee Flautist
Robert Carlyle Actor
Richard Madden Actor
Ruby Wax Comedienne
David Fennessy (2000) – Composer. David’s works have been performed by the National Chamber Choir, the Castagneri and Zephyr Quartets, Synchronia and Concorde, among others. He has received many commissions, including those from RTÉ Lyric FM, Music Network and the Paragon Ensemble. In 2010, he was awarded a Paul Hamlyn Award for composers. Amanda Gaughan (2009) – Director/Producer. Following her work with playwright Douglas Maxwell while still a student, Amanda went on to become the Trainee Director at the Citizens Theatre, Glasgow. She is now working with National Theatre Scotland’s Associate Director, John Tiffany, in his new production of The Missing by Andrew O’Hagan. Becki Gerrard (2010) – Performer. Becki’s first solo work Lip Service was nominated for a Total Theatre Award and the Arches Brick Award at the 2010 Edinburgh Fringe. She has developed and delivered touring schools workshops as an associate artist for Junction25 and Glas(s) Performance. Becki is currently involved in the development of sustainable Drama in HMP Perth. Tunji Kasim (2007) – Actor. Tunji Kasim is currently appearing as a member of the Royal Shakespeare Company’s 2009-2011 Ensemble. Nicola Killean (2002) – Director and CEO Sistema Scotland.
Bill Paterson Actor
Shernaz Patel Film maker/Actor
Colin Morgan Actor
Hannah Gordon Actor
Davur Juul Magnussen (2010) – Trombone. Davur successfully auditioned to play Principal Trombone for the Royal Scottish National Orchestra while still a student. He continues in that role today. Kate McDermott (2008) – Clarinet. Co-Principal Clarinet with the Gothenburg Opera.
Our alumni are today’s musicians, directors, writers, composers, costume designers, set designers, animators, educators, actors, performance makers, producers, technicians… and more. Some are faces you will know, but many more make up the young talent chasing at their heels. These are just a few who represent the microcosm of extraordinarily talented people who pass through our doors.
We Are: the Royal Conservatoire of Scotland
Claire Mckenzie (2010) – Composer and Musical Director. Since graduating Clare works regularly for the Citizens Theatre, Glasgow and has composed scores for several productions. Her children’s music company ‘Little Larks’ which she set up in her third year, having won £1000 as part of the ‘Principal‘s Pit’ competition, continues to grow from strength to strength.
Johnny McKnight (2002) – Actor, Director, Writer. Johnny’s directing credits include: Smalltown, Promises Promises (Scotland, West End and Broadway runs), Little Johnny’s Big Gay Adventure (Random Accomplice). He has also worked as a performer and on educational projects with organisations including: National Theatre of Scotland, Scottish Opera, 7:84 Theatre Company, and Visible Fictions. His most recent project took place in Hong Kong. Ayden Millar (2010) – Scenic Artist. On graduation Ayden was employed as Assistant Scenic Artist at the Citizens Theatre in Glasgow before moving to the BBC where she became Art Director on the primetime quiz show, The Weakest Link. Siobhan Miller (2009) – Singer (Scottish Music, specialising in Scots song). Siobhan teaches workshops, has recorded two albums, and has performed at numerous festivals including Celtic Connections. She has recently returned from Broadway, New York, where she was resident singer in the Mabou Mines production of Peter and Wendy, with music composed by Johnny Cunningham. Katie Shearer (2008) – Music teacher. Following her BEd degree, Katie quickly rose to become Head of Music at Cayman Prep and High School in Grand Cayman, Cayman Islands. Alexandra Silber (2005) – Actor, Musical theatre performer. Alexandra played Hodel in the West End production of Fiddler on the Roof to great critical acclaim. She went on to play Julie Jordan in Carousel at the Savoy Theatre and was awarded the TMA Award for Best Performance in a Musical 2009. She made her Broadway debut in Terrence McNally’s Master Class in 2011. Genna Spinks (2005) – Double Bass, Liverpool Philharmonic Orchestra. Since joining the orchestra Genna has toured to Switzerland, Spain and China and worked with conductors such as Simon Rattle and with artists such as Paul McCartney, Hilary Hahn and Deep Purple. Paul Wright (2006) – Film maker. Paul has been described as one of the most exciting film makers of his generation and was named as a ‘Star of Tomorrow’ by Screen International in 2007. His DFTV graduation film Hikikomori won a BAFTA Scotland award and was nominated for a UK BAFTA. He has since directed a number of award-winning short films including Believe and Until the River Runs Red, the latter winning the BAFTA for Best Short Film this year. He is now preparing his first feature film.
We Are: the Royal Conservatoire of Scotland
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Our International Fellows
Brodsky Quartet Chamber Music
Jane Eaglen Vocal Performance
Malcolm Martineau Accompaniment
Steven Osborne Piano
Ilya Gringolts Violin
Lorna McGhee Flute
Thomas Martin Double Bass
Nadine George Voice
La Famille Lecoq Physical Theatre
Angela De Castro Clowning
Eric Sammut Marimba
Pavel Steidl Guitar
Ian Bousfield, Principal Trombone, Vienna Philharmonic. Trombone
Donald Runnicles, General Music Director, Deutsche Oper Berlin and Chief Conductor, BBC Scottish Symphony Orchestra. Conducting
Christopher Lamb, Principal Percussionist, New York Philharmonic. Timpani and Percussion
Royal Conservatoire of Scotland Patron, HRH The Prince Charles, Duke of Rothesay DAcad (RSAMD) President, Sir Cameron Mackintosh DDra (RSAMD) Chairman, Lord Vallance of Tummel Principal, Professor John Wallace CBE MA (Cantab) FRSAMD FRAM FRCM FRNCM Hon DLitt (Strathclyde) Hon DMus (Aberdeen) Vice Principal, Professor Maggie Kinloch FHEA FRSA
We are a charity committed to the achievement of excellence in the performing arts. A company limited by guarantee reg no 4703 (Scotland) and a charity registered in Scotland no SCO015855.
Š RCS 2011. Images Š RCS/KK Dundas
Royal Conservatoire of Scotland 100 Renfrew Street Glasgow, UK G2 3DB +44 (0) 141 332 4101 www.rcs.ac.uk