Annual Report 2018-19

ANNUAL REPORT 2018-19 ANNUAL CONTENTS 2018-19 has been another highly successful year, we invested £4.6m in scholarships and financial support STATEMENT REPORT centred, as ever, on providing a world-class educational for gifted musicians, many of whom could not otherwise 2018-19 experience for our student population. The wonderful afford to study here; as we approach our Bicentenary achievements of our students, staff and alumni, in 2022, we are looking at a range of new ways to many of which are summarised in this report, reflect expand our initiatives in this area and support even our unswerving focus on musical excellence and more students. demonstrate why we remain the conservatoire of choice for many. With ongoing uncertainty around the terms of the UK’s departure from the European Union, it has been – LOOKING BACK...... 5 We have continued to recruit musicians from over 60 and continues to be – more important than ever to countries and follow the fortunes of alumni whose demonstrate our commitment to our EU students impact on musical life resonates globally. The reciprocal (both current and future) and European partners. We PHILANTHROPY...... 19 sharing of information, knowledge and artistry with welcomed the announcement in May 2019 from the peer institutions, the profession at large, and musicians Department of Education that EU students starting of all kinds has always played a critical part in Academy university in England in 2020 will pay the same fees BENEFICIARIES...... 23 life. Over the past year, we have once again enjoyed a as home students, and will be eligible for student fruitful collaboration with The Juilliard School, as well as finance for the duration of their course. This provided growing our relationships with Tokyo University of the much-needed clarity for prospective students in the ALUMNI...... 29 Arts, Glenn Gould School in Toronto, Sibelius Academy, process of making important choices about their future. Shanghai Conservatory, and the University of Music and the Performing Arts Vienna. By attracting and retaining talented students and staff, OUR YEAR IN NUMBERS...... 35 developing our exceptional facilities, embracing new As custodians of the future of music, we recognise technologies and carefully managing our financial ‘As custodians the importance of encouraging participation at every resources, we will secure the future of the Academy, of the future of FINANCIAL OVERVIEW...... 39 level and are committed to enabling those from ensuring that it thrives in a shifting cultural and social music, we are under-represented backgrounds to access conservatoire landscape. We offer our thanks and appreciation to training. Participatory music programmes led by Open everyone who helps us to achieve our goals. committed to WITH THANKS...... 42 Academy expand our relationships with the wider enabling those community, and Junior Academy provides outstanding from under- music education to students aged between 4 and 18 represented through its First String and First Guitar experiences and Professor Jonathan Freeman-Attwood CBE backgrounds its Primary Academy and Junior Academy programmes. Principal of the Royal Academy of Music And, although our admissions procedures are highly to access competitive, at undergraduate level we audition every Dame Jenny Abramsky DBE conservatoire candidate who applies, without exception. This year, Chair of the Governing Body training’ 3 LOOKING BACK ANNUAL APPOINTMENTS CALENDAR Mary Rodgers and grandson Adam Guettel. The Trevor Pinnock and later broadcast on Radio 3. LOOKING BACK REPORT final concert in our 10-year Kohn Foundation/ Brass and jazz students performed a programme of 2018-19 We work hard to ensure that our teaching staff and Performance is at the heart of everything our students Royal Academy of Music Bach Cantata Series was a Spanish-influenced works with our Derek Watkins visiting professors remain among the best in the do, with collaboration and teamwork forming a critical momentous occasion, ending with rapturous applause Chair of Trumpet, Mike Lovatt. The annual Summer world. The distinguished names added to the roster part of their professional learning curve. Our 2018-19 and a standing ovation. Masterclasses were held by Piano Festival featured more than 20 diverse during 2018-19 include: diary of events covered a multitude of genres, bringing Susan Bullock, Imogen Cooper, Lucy Crowe, Gary events, from Bach in the 21st century, Prokofiev and students together with some of the most established Hoffman and Brindley Sherratt, among others. Steve Reich to chamber music and mixed-media • Hans Abrahamsen Oliver Knussen Chair names in the profession. collaborations. Royal Academy Opera performed of Composition In the Spring Term, guest conductors included Marin The Cunning Little Vixen and the Royal Academy • Neil Brand Visiting Professor of Piano In the Autumn Term, the Academy Symphony Orchestra Alsop (Strauss and Hindemith), Sir Mark Elder (Britten, Musical Theatre Company presented two productions, (Improvising to Film) performed Strauss and a world premiere by student Bax and Sibelius) and John Wilson (Walton and The Wild Party and City of Angels, both of which were • Lesley-Ann Thomson Director of Junior Academy Louise Drewett with Edward Gardner; Bruckner’s Shostakovich). Trevor Pinnock directed the mighty followed by cabaret events in the Angela Burgess • Ryan Wigglesworth Richard Rodney Bennett Fourth Symphony with Robert Trevino; and Tippett, St Matthew Passion, the first concert in our new Recital Hall. Visiting artists who led masterclasses Professor of Music Mussorgsky and Knussen with Ryan Wigglesworth. ‘Bach the European: from Ancient Cosmos towards included Reinhold Friedrich, Christian Gerhaher, The Academy Big Band made its debut in the Susie Enlightenment’ series. The Jazz Department celebrated Simon James, Toby Spence and Yevgeny Sudbin. ‘This array of Other staff appointments includedDi Thorpe as our Sainsbury Theatre with Jazz Artist in Residence Dave the music of Steely Dan with a Big Band concert super-talented new Head of Estates. Holland and Visiting Professor of Jazz Chris Potter, featuring vocalist and songwriter Hamish Stuart, and also performing at the EFG London Jazz Festival the Academy Jazz Orchestra performed arrangements undergraduates with South African vocalist Tutu Puoane. The Piano by Benny Goodman. Georg Friedrich Haas and Anna plays as well as Department held its first Autumn Piano Festival, and the Thorvaldsdottir were our Composers in Residence. any big band week-long SPACED festival featured live performances Royal Academy Opera performed a magical double and probably and installations by composition students. The Czech bill of Iolanta and L’enfant et les sortilèges. Jeroen better than most. Philharmonic worked closely with students on a variety Berwaerts, James Ehnes, Richard Goode, Hartmut of projects during a two-day residency, the culmination Höll, Isabelle Perrin, Rachel Podger, Claude-Michel The term of which was a concert conducted by our Klemperer Schönberg and Fabio Zanon were among those who world class Chair of Conducting, Semyon Bychkov, which was held masterclasses. seems never LOOKING BACK broadcast live on BBC Radio 3. We also welcomed more appropriate PHILANTHROPY students from the Glenn Gould School of Canada’s In the Summer Term, John Butt, Iain Ledingham and than when BENEFICIARIES Royal Conservatory for Music of Exile, a three-day Laurence Cummings directed concerts in our ‘Bach ALUMNI collaboration. Royal Academy Opera’s production the European’ series, and the Academy Symphony evaluating OUR YEAR of Semele, directed by Olivia Fuchs and conducted Orchestra performed Ligeti and Prokofiev under their collective, IN NUMBERS by Laurence Cummings, was a sell-out. The Musical the baton of Jac van Steen. The Academy Soloists expertly FINANCIAL Theatre Department’s first show of the year,Waiting Ensemble, joined by students from the Glenn Gould Royal Academy Opera’s honed skills’ OVERVIEW Ryan Wigglesworth Somewhere for Me, was a celebration of a great School, performed Józef Koffler’s arrangement of the production of WITH THANKS songwriting dynasty – Richard Rodgers, daughter Goldberg Variations at Wigmore Hall, conducted by The Cunning Little Vixen Jazz Journal 6 7 ANNUAL One of the highlights of the year was our joint • New Music for Hepworth, a project RECORDINGS LOOKING BACK REPORT BBC Prom with The Juilliard School during the involving The Hepworth, Tate Britain and our 2018-19 summer break, which received a series of four-star Composition Department. The Academy Soloists Ensemble’s performance of the reviews in the press, including the Guardian, The Times • Nash Ensemble side-by-side at Wigmore Hall. Goldberg Variations, conducted by Trevor Pinnock, and The Telegraph. The programme, conducted by • The Academy Manson Ensemble in a new was recorded at Snape Maltings at the end of May Edward Gardner, featured the UK premiere of Anna production of Stockhausen’s Donnerstag aus Licht and is planned for release in spring 2020. It will be the Thorvaldsdottir’s Metacosmos, Stravinsky’s The Rite at Royal Festival Hall, the latest in a series of Academy’s seventh recording on the Linn Records label. of Spring and Britten’s Violin Concerto with Visiting side-by-side concerts with London Sinfonietta. Professor James Ehnes. Another Academy-focused Prom with the newly founded Knussen Chamber Opportunities such as these are invaluable and are Orchestra took place in September. what makes the Academy experience unique, offering significant educational and artistic benefits and Collaborations have always played a critical part in life broadening cultural horizons. at the Academy, and we are thrilled to have established new partnerships over the course of this year. The Czech Philharmonic’s inaugural residency paved the way for a more formal working relationship that will involve members of the orchestra working with students each year in a programme of masterclasses, professional audition sessions, and side-by-side chamber music and orchestral concerts. We also look forward to strengthening our new friendship with the Glenn Gould School. Other successful collaborations this year have included:

• An orchestral workshop with LOOKING BACK Gewandhausorchester Leipzig, led by timpanist ‘This noble PHILANTHROPY and alumnus Tom Greenleaves. institution BENEFICIARIES • Virtual Conservatoire performances of Otis and ALUMNI Eunice featuring musicians, actors and dancers makes you feel OUR YEAR from the Academy, Royal College of Music, welcome, warm, IN NUMBERS Bristol Old Vic Theatre School, RADA, LAMDA and belonging and in Semyon Bychkov and FINANCIAL Central School of Ballet. the Czech Philharmonic the right place’ OVERVIEW The BBC Proms, July 2019 worked with students on WITH THANKS a variety of projects Semyon Bychkov 8 9 ANNUAL STUDENT ACHIEVEMENTS Our first four Bicentenary Scholars,Anna Geniushene Trombone Society Annual Awards. Jack Reddick LOOKING BACK REPORT (piano), Claudia Lamanna (harp), Emily Nebel (violin) came first in the British Flute Society Young Artist 2018-19 It is a privilege to see our talented young musicians and Yoanna Prodanova (cello), enjoyed an intensive competition, and was accepted into the New World grow as artists during their time at the Academy. Here year of preparation for their professional careers, Symphony in Miami as a Fellow for 2019-20. Alex Woolf are just a few of this year’s standout successes. mentored by Academy professors and under the overall won one of three available places on the Philharmonia direction of the Principal. Composers’ Academy. The joint winners of the Academy’s annual Patrons’ Award were Sally Palmer (flute) andLeo Nicholson Pianist Isata Kanneh-Mason won a recording contract Among the Vocal Studies and Royal Academy Opera (piano), and Flora Curzon (violin) and Benedict Williams with Decca and debuted at the top of the UK Classical students offered places with prestigious Young Artist (harpsichord). Yuki Akimoto won the Richard Lewis/ Artist chart with her album Romance, and Yehuda Inbar Programmes were Lina Dambrauskaitė (International Jean Shanks Award, with the Webb Award for Piano released his debut CD featuring Schubert’s unfinished Opera Studio at Opernhaus Zürich), Sarah Gilford Accompaniment going to Benjamin Mead. The RAM sonatas, Michael Finnissy and Jörg Widmann, which (Bayerische Staatsoper Opera Studio), Paul Grant Club Prize was won by flautistFrederico Paixão. received excellent reviews in both the German and (Accademia Teatro alla Scala), Kali Hardwick Baritone Sung Kyu Choi was awarded the Pavarotti British music press. Ariel Lanyi won first prize at the (OperAvenir at Theater Basel), Darwin Leonard Prakash Prize, and final-year saxophonistAlexander Bone Concours International Grand Prix Animato in Paris, (Staatsoper Hannover), Shengzhi Ren (National Opera won both the Richard Turner Award and the Kenny and Anna Geniushene was one of the five finalists in Studio) and Stephanie Wake-Edwards (Jette Parker Wheeler Jazz Prize. the Leeds International Piano Competition. Young Artists Programme at the Royal Opera House, Covent Garden). Cellist Sheku Kanneh-Mason became the first artist to receive the new Brit Certified Breakthrough Award, Many of our 2018-19 Musical Theatre cohort accepted and in July 2019 he was awarded the PPL Classical roles in high-profile shows before graduation. Award at the Nordoff Robbins O2 Silver Clef Awards. Paige Peddie joined the UK and Ireland touring cast Violinist Kumi Shimazu and cellist Margarita Balanas of The Lion King, Masato Takeuchi appeared in the were winners in the International Competition ‘Debut Japanese production of Anastasia, Lily Kerhoas made Concert Hamburg’, and violinist Chieko Arai, with her West End debut as Cosette in Les Misérables and pianist Mihály Berecz, won first prize at the International Adriana Ivelisse played Maria in West Side Story at LOOKING BACK Violin Competition ‘Inter Cordes’ in Paris. Jakub Curve Leicester. Amy Parker and George Whitty ‘The players are PHILANTHROPY Wycislik won the Bach Competition at the International were cast in Hello Again at the Union Theatre, Robert incredibly gifted – BENEFICIARIES Cello Festival in Kraków. Madge in the UK tour of Les Misérables, Anton ALUMNI Schweizer in Bonifatius in Germany and Simon the string playing OUR YEAR Trumpeter Alexandra Ridout won the Rising Star Award Whitaker in Phantom of the Opera at Her Majesty’s is sensational. IN NUMBERS at the British Jazz Awards. Seth Tackaberry (bass) Theatre. Musical Direction and Coaching graduate The sky’s FINANCIAL and Reuben Goldmark (piano) reached the final of William Bullivant joined the London premiere of the limit’ OVERVIEW Alexander Bone the BBC Young Jazz Musician 2018 competition, and Musical Theatre’s Preludes at Southwark Playhouse as Assistant MD. production of City of Angels WITH THANKS Rory Ingham won Student of the Year at the British John Wilson 10 11 ANNUAL ACADEMY STAFF AND ASSOCIATES Visiting Professor of Composition Sir Harrison Birtwistle EQUALITY, DIVERSITY AND ACCESSIBILITY Master’s in Orchestral Conducting in the UK or abroad, LOOKING BACK REPORT won the Orchestral Award at the British Composer started at the end of August 2018. The programme 2018-19 Rachel Podger, the Academy’s Micaela Comberti Chair Awards 2018 for Deep Time. Jazz trombone professor The Academy remains committed to access and is supported by The JMCMRJ Sorrell Foundation in of Baroque Violin, was named Artist of the Year at the Gordon Campbell won the Award for Outstanding participation, both in our programmes of study and memory of Jack Sorrell. Twelve conductors attended Gramophone Classical Music Awards 2018. Contribution at the British Trombone Society Annual for the purposes of raising aspiration and introducing the initial three-day course, five of whom were taken Awards. Shinn Fellow Keval Shah was awarded an music to young people through our Open Academy and forward for three subsequent weekends of training. Edison Visiting Fellowship at the British Library Junior Academy departments. During the course of the Participants reported that the programme had a for 2019-20. year, we commissioned two pieces of research – the transformational impact on their skills, confidence and first is investigating financial support for students and abilities, with three of the final five going on to apply We offered our warm congratulations to our Head the second relates to engagement of under-represented for postgraduate courses in conducting. Following the of Piano, Professor Joanna MacGregor, who was young people in music education. The work was programme’s success, we announced that we would awarded a CBE in the 2019 Queen’s Birthday Honours scheduled for completion during autumn 2019. be running it again in 2019. in recognition of her services to music. Disney Theatrical Productions funded three scholarships Sian Edwards, Head of Conducting, said: ‘I think one A box of lost recordings of performances by Piano for students from black, Asian and minority ethnic (BAME) of the great values of the Sorrell Women Conductors ‘How recklessly, Department staff memberSulamita Aronovsky, backgrounds to join the Musical Theatre Programme. Programme is that it gives aspiring conductors the time hedonistically who turned 90 in 2019, were discovered at Lithuanian These scholarships were established to help address the and space to explore their musical ideas and beliefs Radio. They were played on the radio station and have under-representation of BAME talent in musical theatre in a lively but supportive environment. The more their opposed to recently been remastered for release. In June, she and encourage greater diversity in the industry. Several conducting comes from their deepest convictions, the the ethos of told her fascinating story about leaving Lithuania on previous scholars have gone on to appear in high-profile more they feel empowered to access the authentic capitalism it BBC Radio 3‘s Music Matters. shows in the West End, including Hamilton. energy that gives them the authority they need on the is to host free conducting podium.’ concerts nearly Among the Academy staff taking part in the 2019 We livestreamed several events on Facebook, making BBC Proms were our Sir Charles Mackerras Chair of our music available to thousands of people around Work started on a new website, which is expected to every weekday Conducting Edward Gardner, horn professor Martin the world who would otherwise not have access to launch in summer 2020. It will meet the AA standard set lunchtime. Owen and Visiting Professor Brindley Sherratt. our performances. Classic FM shared the live streams, by the Web Content Accessibility Guidelines (WCAG), Singers, pianists, LOOKING BACK giving them even wider reach. In January, the Academy a set of recommendations for making web content string quartets PHILANTHROPY We were saddened to learn of the death in September Symphony Orchestra concert conducted by Marin more accessible, primarily for people with disabilities. and assorted BENEFICIARIES of the distinguished tenor Kenneth Bowen, who Alsop reached approximately 145,000 people, and In conjunction with this, we are working with award- ALUMNI taught at the Academy from the late 1960s until 1991, February’s performance of the St Matthew Passion winning branding and design agency Johnson Banks on other artists take OUR YEAR including several years as Head of Vocal Studies; and, under Trevor Pinnock reached an estimated 181,000 our messaging and how we present ourselves externally. to the stage IN NUMBERS in November, alumnus John Streets MBE, who served people worldwide. Staff from across the Academy have been involved in a to share their FINANCIAL as Head of Opera for 21 years and Head of Postgraduate series of interviews and workshops, initial concepts have musical gifts’ OVERVIEW Rachel Podger Programmes for nine. The first Sorrell Women Conductors Programme, been approved, and work is under way on the design WITH THANKS aimed at women who are considering applying for a element, which will also inform the look of the website. Time Out 12 13 ANNUAL JUNIOR ACADEMY OPEN ACADEMY Royal London Hospital LOOKING BACK REPORT Throughout the year, Academy students take part 2018-19 Junior Academy is an integral part of the Academy, Open Academy is the Academy’s Learning, Participation in creative sessions with children who are receiving providing music education of the highest quality to and Community initiative. Working with its artistic and treatment at the Royal London Hospital. young musicians between the ages of 4 and 18. We community partners, it offers opportunities for students are grateful for the continuing support of the Wolfson and project participants to explore making music Composing for Teachers Foundation, Leverhulme Trust, Sir Elton John Trust together. These include workshops with children The continuing professional development offer to and a number of individual benefactors. and young people in mainstream schools and SEND primary school teachers in Camden was extended (special educational needs and disability) settings, in response to feedback on the previous year’s In December, Thomas Blunt conducted the Junior disabled people, those receiving treatment in hospitals, event. Again, the focus was on developing skills and Academy Symphony Orchestra in a performance residents and staff of care homes, and people attending confidence in leading creative composition work that included Stravinsky’s The Firebird. In February, day centres. in the classroom, and, additionally, to support a collaboration with RADA Youth Company and rehearsal and performance. Rambert School resulted in a staged performance In 2018-19, Open Academy was involved in 57 projects of The Soldier’s Tale, alongside world premieres of and reached more than 6,000 people. This would not ‘I’ve learnt so six short compositions by Junior Academy students, have been possible without the generous support of much about the choreographed by Rambert School students. our donors. transformative Over the course of the year, students benefited from Highlights include: power of music. masterclasses given by guitarist Fabio Zanon, oboist Whether you’re Jonathan Kelly, viola player Juan-Miguel Hernandez City Lit Percussion Orchestra: Music is a Place 5, 25 or 95, and singer Mary King, among others. This project, which has been running since 2016, brings music can break together Academy students and adults with learning We were delighted to welcome music education disabilities to create and perform new compositions. down barriers specialist Lesley-Ann Thomson as our new Director of In June, the ensemble performed at the Academy as and forge Junior Academy in February. She has experience as a part of Learning Disability Pride. connections. It’s LOOKING BACK professional performer and music educator, and holds magical to watch PHILANTHROPY a successful record of leading change across various Nash Ensemble this happen and BENEFICIARIES roles, including Head of West Dunbartonshire Music Working with the Nash Ensemble’s pianist, Ian Brown, ALUMNI Service, Deputy Chief Executive of Kent Music and students from Regent High School and St Marylebone a privilege to be OUR YEAR Head of Junior Music Courses at the Guildhall School of Secondary School created their own graphic scores a part of it’ IN NUMBERS Music & Drama. Lesley-Ann has a breadth of vision that in response to new pieces by postgraduate students FINANCIAL will continue to enable Junior Academy to offer the Louise Drewett and Jenifer Morphet. The project was Alice Poppleton, OVERVIEW very best for its young musicians. Junior Academy Symphony led by composer and former Open Academy Fellow Academy Tots event with Open Academy Open Academy Orchestra in rehearsal Fellow Alice Poppleton WITH THANKS James Moriarty. Fellow 14 15 ANNUAL MUSEUM STUDENT WELLBEING PREMISES LOOKING BACK REPORT 2018-19 Items loaned to us by the late Elliott Golub, including the We continue to develop our student support services Five new percussion studios, equipped with excellent ‘Spagnoletti’ violin (right), were displayed in the Strings to maximise the quality of care, information, advice soundproofing and a comprehensive collection Gallery from September 2018 until February 2019. and guidance available. For the 2018-19 academic of percussion instruments, were completed at the year we introduced a new ‘Resilience’ strand in all beginning of the academic year. St Mark’s was fitted In the temporary exhibition space, ‘Hitting the Right undergraduate and taught postgraduate programmes, out with soundproofing and acoustic panels to provide Note: Amazing Women of the Academy’ ran until which focuses on health and wellbeing issues with an even better environment for teaching, rehearsals April 2019. It celebrated the achievements of women the aim of encouraging our students to lead healthy, and recordings. associated with the Academy since its foundation. balanced lifestyles and to give them up-to-the-minute The space was then used until early June for an information about reliable expert sources of help. The Susie Sainsbury Theatre and Angela Burgess Recital installation by Academy composer Geoffrey King. Cohort lectures are underpinned by surgery-style Hall continued to garner industry recognition, winning Our new exhibition, ‘What a Song and Dance’, opened Artistic Development support, which has seen a marked (among other accolades) the New London Architecture on 5 July and runs until February 2020. It marks the increase in cross-programme footfall. Meanwhile, award for Culture and Community, an AJ (Architects 25th anniversary of the Academy’s Musical Theatre an enhancement in both counselling and additional Journal) Retrofit award and a World Architecture award. Programme and traces the roots of the genre, from support provision reflects the Academy’s serious and They also won the Higher Education Project of the vaudeville and operetta to the modern musicals of positive response to the growing need for mental health Year at the 2018 AJ Architecture Awards, where the Broadway and the West End. support and additional learning support for students project was praised as a ‘tour de force’ and ‘an inspired with learning difficulties. marrying of the old and the new’. The new spaces were New acquisitions included: listed in The Times’s 10 greatest new buildings of 2018. The Academy’s overall satisfaction score in the • Four set designs by Fernando Farulli for The Two National Student Survey (NSS) was 84%, a marked During the summer of 2019, work to enhance the Fiddlers by Peter Maxwell Davies, donated by Anna improvement on our 2018 score of 71%. While this theatre foyer started. The improvements include Maria Piccinini. is encouraging, we continue to strive for the highest acoustically treated wood-panelled walls and a ‘This is the • An oil painting of Sir Henry Wood conducting the possible rates of student satisfaction and aim to build beautiful mosaic floor that echoes the design in future right opening night of the 47th season of the Queen’s further on this result. our main entrance area. The Academy is grateful to here: the next LOOKING BACK Hall Promenade Concerts at the Royal Albert Hall by Backstage Trust and the Gatsby Charitable Foundation, generation PHILANTHROPY Grace Golden, 1941, donated by Gillian Councell. the two trusts supporting this work, which was of musicians, BENEFICIARIES • A violin by GA Chanot, Manchester 1899. scheduled for completion in October 2019. ALUMNI • A violin ‘Ceruti school’, c 1800. energetically OUR YEAR • Nine items for the Calleva Collection – three tubas, mastering IN NUMBERS one cimbasso, one violin and one cello bow by their art’ FINANCIAL Kaspar Pankow, a G violone by Christiane Mitschke, OVERVIEW a German harpsichord by Bruce Kennedy and a The ‘Spagnoletti’ violin, Gramophone on loan from Elliott Golub WITH THANKS fortepiano (Conrad Graf copy) by Christoph Kern. magazine 16 17 PHILANTHROPY ANNUAL Each year, I have the privilege of thanking our generous I would particularly like to recognise a group of PHILANTHROPY REPORT community of donors for their support over the past exceptional donors who gave significant financial year. And this year is no different – a record 1,098 and practical support for a few very special initiatives, TRUSTS AND FOUNDATIONS COMPANIES OTHER ALUMNI 2018-19 £680,027 £101,298 £17,160 £540,687 donors gave more than £4.8m to support a huge range including widening access, women conductors and of projects. Along with my colleagues and nearly 900 digital infrastructure. Together they represented nearly Academy students, I extend my deepest thanks for £2.25m in gifts and pledges to the Academy in 2018-19. FRIENDS £3,522,763 this support. As the Bicentenary gives us the chance to celebrate TOTAL RAISED our past, these gifts encourage us to look to our future. £4,861,935 This year, however, I want to tell you why this support To these benefactors, my profound thanks. matters. At many educational institutions, gifts provide between 1% and 2% of the overall operating income. Since its earliest days, the Academy has had the support At the Academy, in part because of our commitment of a generous worldwide community of donors. As we to widening access, philanthropy makes up as much approach our Bicentenary, we are more aware than ever 429 as 20% of our budget. One-fifth of everything we do is that we move forward only with their help, and yours. DONORS, OF WHOM MY LEGACY underwritten by donors, which means that donations From all of us, thank you. SCHOLARSHIPS LEGACIES are not just important but absolutely vital to the life of AND 312 (22% OF the Academy. Kirsty MacDonald GAVE TO THE BURSARIES ALL GIFTS) Deputy Principal (Advancement) PRINCIPAL’S FUND £2,005,897 £1,056,096 We are especially grateful to the 618 supporters who 41% gave £1.53m to fund scholarships, bursaries and prizes, including the more than 200 Founding Members of the Principal’s Fund and those supporting the elite Bicentenary Scholars. Your generosity helps to ease GIFTS OVERVIEW students’ uncertainty and anxiety about financial matters, ensuring that they can pursue their studies without distraction and with total commitment. ‘I would not have been able to access the incredible ‘Throughout my three years at the Academy, finances LOOKING BACK As one student said, scholarships are more than support, teaching, guidance and experience I’m have not been easy, and my parents have had to give PHILANTHROPY dreams – they are doors that change lives. getting at Royal Academy Opera without help, so me a lot of support. My scholarship has taken some BENEFICIARIES ALUMNI In 2018-19, this generous spirit ensured that 626 I will be forever grateful for my scholarship. I’ll do of the pressure off them as well as me. It has also OUR YEAR students were fortunate enough to receive extra everything I can to be a success in this industry, strengthened my bond with the Academy – knowing IN NUMBERS support for their education. On the pages that follow, but all the foundations have been laid at the that people want to support me makes me feel even FINANCIAL you will read more about a few young musicians Academy. I can’t thank you enough’ more invested in my time here’ OVERVIEW who benefited from these gifts. WITH THANKS Clare Tunney, opera Rebecca McNaught, cello 20 21 BENEFICIARIES ANNUAL MILLICENT MCFALL ZOË PERKINS DENITSA GEORGIEVA BENEFICIARIES REPORT Undergraduate, piano Undergraduate, trumpet Undergraduate, violin 2018-19 Recipient of the Recipient of the Associated Recipient of the International Fernside Scholarship Board of the Royal Schools of Students House Royal Academy Music Scholarship of Music Regent Scholarship

Each year, 1,600 musicians audition for places at the I’ve been an Academy student for a year so far, and It was the amazing reputation of the Brass Department I love studying at the Academy because of the diverse Academy. Only a fraction are successful, and they I’ve already made so much progress. I’ve had a lot of that convinced me to choose the Academy for my opportunities it has to offer and the brilliant teachers embark on a journey that tests their passion, strength performing and competing opportunities, played for trumpet studies. I loved the atmosphere when I who work tirelessly to keep us motivated. I felt the and commitment to music. world renowned teachers and gained much-needed auditioned, and was impressed by the numerous friendly, welcoming atmosphere from the moment I chamber music experience. opportunities on offer to students. I was also drawn entered the building for my auditions. It’s a place that In the following pages you will meet a few of the very to the electives available in the third and fourth years, pushes me to do my best at all times. ‘My scholarship best who studied with us in 2018-19. Behind each In the summer, I competed in an international and now that I am studying them I find them extremely has given me student there are families, friends, donors and teachers competition in my home city in the USA. My mother useful for my musical development. When I told my parents that I wanted to audition for the the opportunity who have helped to make their achievements possible. had not heard me perform for just over a year. Academy, they told me they wouldn’t be able to support to study at one We are grateful for their support and sacrifices. Afterwards, she told me that she could sense my During my time at the Academy I have gained not me financially. The only reason I’m here is because of of the best new-found confidence and noticed that I’d resolved only important skills on my instrument, but a really my scholarship. It has enabled me to meet so many For a chance to meet more exceptional students, certain technical issues I’d struggled with in the past. strong sense of professionalism. I have a much better inspiring and experienced musicians who have helped conservatoires we invite you to attend some of our wonderful This was one of the best responses I could have had understanding of areas such as rehearsal etiquette me grow both personally and musically. in the world. It performances and events – there are over 500 to to my playing because over the course of the year, and preparation, which will stand me in good stead has taken the LOOKING BACK choose from each year. as I’ve progressed musically and technically, I’ve after I graduate. The past year at the Academy has been overwhelming financial stress PHILANTHROPY become so much more confident in my playing. at times, but an extremely rewarding experience. I’ve off my family BENEFICIARIES Receiving the ABRSM Scholarship has made the world had the chance to do so much chamber and orchestral ALUMNI Without my scholarship, my life would be very of difference to me. It is incredible to be in a position playing, which I enjoy. I really look forward to my and allowed me OUR YEAR different now. It has given me the opportunity to study where I can concentrate purely on my degree without lessons each week, and I’ve learnt a lot about how to focus on my IN NUMBERS outside my country, at one of the best conservatoires financial worries – it has allowed me to learn so much to get the most out of my practice. It’s so rewarding studies, so I am FINANCIAL in the world. It has taken the financial stress off my during my time here. to see the progress I’m making. very grateful’ OVERVIEW family and allowed me to focus on my studies, so I WITH THANKS am very grateful. Millicent McFall 24 25 ANNUAL LUKE BAINBRIDGE ELIZA WATERS VITOR MORAES SANDES NIALL ANDERSON BENEFICIARIES REPORT Postgraduate, jazz percussion Postgraduate, musical theatre Postgraduate, classical guitar Postgraduate, opera 2018-19 Recipient of the Universal Music Recipient of the Recipient of the Donald Recipient of the Fordyce Award UK Sound Foundation Award Disney Theatrical Graham Scholarship and and the John Baker Award Productions Scholarship the International Students House Royal Academy of Music Regent Scholarship

I chose to come to the Academy because of the Before coming to the Academy, I was working as It had always been a huge dream of mine to study When I auditioned for Royal Academy Opera I was unrivalled training and resources it offers. I felt it was a stage manager. I enjoyed being part of the industry at the Royal Academy of Music. It is the centre of struck by the friendly but professional environment. the best place for me to realise my career goals. During in a backstage capacity, but I’ve always had a passion classical guitar in London so it was the obvious place It was this, along with the Academy’s formidable my time at the Academy so far I have already seen for musical theatre and wanted to fulfil my dreams for me to be, but without financial support I would reputation around the world, that made it my the quantity and quality of performance opportunities of performing. not have been able to come here. first choice. increase, and I am playing and composing music at a much higher level than when I first started my Master’s. I was fortunate enough to be awarded a Disney I was born and raised in a rural part of Brazil and I’m Being associated with the Royal Academy of Music is Theatrical Productions Scholarship to study Musical the first person in my family to be educated abroad. a tremendous privilege but also a great responsibility – The Master’s Programme has prepared me for the Theatre. Since coming here I’ve honed my skills and We have absolutely no background in classical music, one that I take very seriously. Having grown up in realities of the freelance music world after I graduate, learnt to push the boundaries of what I thought I and I have spent my whole life ‘swimming upstream’ an industrial area of Fife, I know that opportunities ‘During my time with advice and supervision on various professional could achieve. We are really lucky to have so many because where I come from, performing the guitar is to study at an institution such as this one do not come skills, including fundraising, social media presence and opportunities to work with and perform for industry not recognised as a serious career. around very often. I am fully aware that without my at the Academy producing promotional material and documents. experts. Our teachers do a fantastic job of tailoring the donors’ support I would not be where I am today. I’ve discovered course to suit the skills and interests of each student. In London – and specifically here at the Academy – I Only a very small number of young musicians are who I am on LOOKING BACK Given the intensive nature of my course, it has been a found the ideal environment to grow as both an artist awarded a place to study on the Royal Academy Opera stage and PHILANTHROPY real privilege to receive financial support. During this During my time at the Academy I’ve discovered who and a person. It is a space that I can call home; where Programme and I feel very lucky to have been given gained so much BENEFICIARIES crucial time in my career, I have been able to develop I am on stage and gained so much confidence in my I can be myself and be proud. the chance to study at this level. ALUMNI a compositional concept that I’ve applied to my own ability as a performer. Thank you. confidence in OUR YEAR band, take on playing work outside the Academy, my ability IN NUMBERS and expand my professional network of contacts by as a performer. FINANCIAL attending gigs and jams in London. All of this has made Thank you’ OVERVIEW an enormous difference to my time here. WITH THANKS Eliza Waters 26 27 ALUMNI ANNUAL We have a community of over 16,500 alumni who Academy alumni continue to fill concert halls, opera Viola player Timothy Ridout won the prestigious Notable Musical Theatre alumni successes included ALUMNI REPORT form an important part of the Academy family. The houses, theatres and recording studios all over the Thierry Scherz Prize at the Sommets Musicaux de Fra Fee, who made his Broadway debut in Jez 2018-19 appointment of an Alumni Engagement Manager in world. Appointments made over the course of this Gstaad festival and will record his debut solo CD with Butterworth’s award-winning play The Ferryman, July 2018 led to a review of the Academy’s alumni year include: the Orchestre de Lausanne. He was also announced reprising his role as Michael Carney; Kate Marlais, programme, the outcome of which aims to develop as a BBC New Generation Artist for 2019-20. Violinist who was nominated for a Best Composer Award at a reinvigorated programme of tailored content and • Joshua Batty Principal Flute, Sydney Luke Hsu was named as a Violin Channel Young Artist. The Stage Debut Awards; Rachel Tucker, who was benefits, engagement opportunities and access points Symphony Orchestra Joseph Havlat, 2018 alumnus and Piano Fellow for nominated for a 2019 Olivier Award for her role in for alumni over the next five years. • Emily Davis and Lena Zeliszewska Joint Associate 2018-19, won the keyboard section final of the Royal Come From Away at the Phoenix Theatre; and Helen Leaders of the Royal Scottish National Orchestra Over-Seas League Annual Music Competition and, along Woolf, who was announced as the West End’s new This year, a project to re-engage past students of Junior • Edward Gardner Principal Conductor of the London with mezzo-soprano Lotte Betts-Dean, won the 2019 Glinda in Wicked after playing the role on the UK tour. Academy was launched, with the aim to grow the Philharmonic Orchestra (from 2021-22 season) Oxford Lieder Young Artist Platform. Mezzo-soprano alumni community and widen our reach. A campaign • Ben Glassberg Principal Conductor of the Claire Barnett-Jones won the Wagner Prize and Junior Trumpeter James Davison won The Musicians’ through social media and senior Academy alumni has Glyndebourne Tour Jury Prize at the 52nd International Vocal Competition Company Jazz Young Musician Award, jazz already reached more than 40 past students. • Karin Hendrickson Associate Artist at Sage in the Netherlands. Angharad Lyddon and Katie pianist, composer and bandleader Tom Millar was Gateshead, Assistant Conductor at Royal Northern Bray were finalists in BBC Cardiff Singer of the World announced as a 2018 City Music Foundation Artist, Significant effort has gone into engaging alumni Sinfonia and Music Director of Young Sinfonia 2019, with Katie winning the Dame Joan Sutherland and saxophonists Alex Hitchcock and Tom Smith through social media, resulting in a 10% increase in • Jonathon Heyward Chief Conductor of Audience Prize. Kangmin Justin Kim became the first were two of the three winners of the prestigious Peter followers of the alumni Facebook page and a 76% the Nordwestdeutsche Philharmonie (from countertenor in The Royal Opera’s 250-year history to Whittingham Jazz Award. Jacob Collier received the increase in engagement with posts. January 2021) play Cherubino in Le nozze di Figaro. PRS for Music Gold Award at the Jazz FM awards. • Magdalena Hoffmann Principal Harp of the An alumni stand at graduation and communications Bavarian Radio Symphony Orchestra to graduating students led to a 31% increase in • Thomas Isaac Co-Principal Cello of the email sign-ups to the alumni community from the Bournemouth Symphony Orchestra graduating class. • Jason Lewis Associate Principal Trumpet of the Royal Scottish National Orchestra During 2018-19, a blog with content created specifically • Luke O’Toole Principal Flute in the Orchestra of ‘This is a magical LOOKING BACK for alumni was promoted via the Alumni News Opera North place … You PHILANTHROPY e-newsletter. This showcased a number of interviews • Daniele Rustioni Chief Conductor of the Ulster walk in and BENEFICIARIES with alumni from across the profession, including Miloš Orchestra (from September 2019) ALUMNI Karadaglić, Hannah Rankin and Jonathon Heyward. • Zhenwei Shi Principal Viola of the Atlanta you can smell OUR YEAR Symphony Orchestra the joy, and this IN NUMBERS We will continue to develop our alumni offering to • Hetty Snell Co-Principal Cello of the Orchestra of is what music is FINANCIAL support our mission to provide lifelong value to our the Royal Opera House all about’ OVERVIEW alumni, while in turn cultivating their ongoing support • Louisa Tuck Professor of Cello at the Norwegian Katie Bray Fra Fee WITH THANKS for the Academy and its strategic aims. Academy of Music, Oslo Sir Elton John 30 31 ANNUAL Emmanuel Sowicz won first prize in the London JONATHON HEYWARD SIMONE LAMSMA CHRISTINE ALLADO ALUMNI REPORT International Guitar Competition. Bassoonist 2018-19 Hannah Rankin, the only Academy alumna (as far I grew up in South Carolina, My 2018-19 season was one My time at the Academy was as we know!) who combines work as a professional so coming to the UK to study of so many memorable and life-changing – it gave me the musician with a boxing career, claimed the IBO conducting was a big step. But enriching moments, both springboard I needed to get a super-welterweight title and became Scotland’s first I fell in love with the culture of musical and personal – debuts, foot in the door of the musical female world champion. the UK and the Academy straight returns and collaborations with theatre world. I came to the away – it’s unlike anything inspiring musicians around the UK from the Philippines with At the Academy’s graduation ceremony in July, in the USA! I enjoyed every world. What we are able to no connections, no family and Kit Downes, Sunwook Kim, Simone Lamsma, minute of my audition – I really experience and share together no understanding of how the Nicholas Miller, Chi-Yu Mo, Mary Nelson, Max Richter, connected with Sian Edwards, through music is something industry worked over here. I Sarah Tynan and Andrew West were made Fellows. the Academy’s Head of Conducting, and I knew I would unique and deeply meaningful. graduated from the Musical Theatre Programme in 2013 learn so much from her. with the skills and knowledge I needed for a career in Several Academy alumni were recognised in the Highlights from the past year include violin concertos the theatre, and I’ve since played some wonderful roles 2019 New Year Honours – pianist Christian Blackshaw I was announced as the Assistant Conductor of the at the Berlioz Festival in France and with the Yomiuri on several West End stages. and cellist Jacqueline Tyler were awarded MBEs, Hallé before I left the Academy in 2016. That was an Nippon Symphony Orchestra in Tokyo, MDR- organist Jeffrey Howard received a BEM and Ingrid amazing segue for me, and it was without doubt thanks Sinfonieorchester Leipzig conducted by Robert Trevino, In November 2018 I finished a one-year run as Peggy Culliford was made a Member of the New Zealand to the top-of-the-line education I received that I was New York Philharmonic with Jaap van Zweden, the Schuyler/Maria Reynolds in the original West End cast Order of Merit for her services to music. In the Queen’s able to dip straight into intense professional work. Pittsburgh, Detroit and Sydney symphony orchestras of Hamilton, which was an incredible experience from Birthday Honours in June, soprano Mary Bevan was and the Hallé with Sir Mark Elder, among others. start to finish. Lin-Manuel Miranda’s style of storytelling awarded an MBE. I’ve had a fantastic 2018-19 season, travelling all is unique, and I was so privileged to work with him. over Europe as well as to Japan and the USA for I could not have asked for a better season ending The icing on the cake was to be nominated in the The 2019 BBC Proms season was announced, with performances. Highlights include debuts at the than being invited to attend the Academy’s graduation Best Supporting Actress in a Musical category at the the line-up of performers including alumni Nathaniel Symphony Hall in Osaka with the Osaka Symphony ceremony to be appointed a Fellow – it was a very WhatsOnStage Awards. Anderson-Frank, Allan Clayton, Oliver Coates, Orchestra, Concertgebouw with Nordwestdeutsche special moment of reflection for me. Jessica Cottis, Sir Andrew Davis, Christina Gansch, Philharmonie, Barbican with the National Youth In addition, the studio cast recording of The LOOKING BACK Sir Simon Rattle, David Shipley, Hilary Summers and Orchestra of Great Britain and, in June, the Seattle Clockmaker’s Daughter – for which I sang the role PHILANTHROPY Mark Wigglesworth. Symphony. I also carried out my final engagements as of Constance – was released in February, and in July BENEFICIARIES Assistant Conductor of the Hallé and stepped in at the I was cast as Tzipporah in the new West End musical ALUMNI last minute to conduct Shostakovich’s Symphony No 7 The Prince of Egypt. It opens in early 2020 and it’s OUR YEAR at the Manchester International Festival. going to be spectacular! IN NUMBERS FINANCIAL OVERVIEW WITH THANKS 32 33 OUR YEAR IN NUMBERS ANNUAL CONCERTS AND EVENTS INVESTMENT AWARDS OPEN ACADEMY OUR YEAR REPORT IN NUMBERS BMus MA/MMus Open Academy worked with a total of 2018-19 participants in projects 6,106 57 £4.6m JUNIOR ACADEMY 550 90% 93% The academic year began with 227 students, performance another record-breaking number events graduated with graduated with invested in scholarships a first or upper second distinction or merit Music and and financial support bursaries Dance Scheme offered government- 80% for talented musicians 63 students received a Dip RAM for an outstanding 46 35 funded places 48,600 free of charge final recital people

65 A total of 881 60 FACEBOOK +5% 61,994 156 students from 55 59,247 professional 1,021 677 199 50 services staff people at people on people at 45 40 35 TWITTER +7% 58 53 14 30 34,985 public events guided tours Academy 32,811 LOOKING BACK 424 25 Tots sessions PHILANTHROPY teaching staff 20 15 BENEFICIARIES 7% TAGRAM +4 ALUMNI 10 INS 13,882 5 9,419 YOUTUBE +54% OUR YEAR 7,539 103 28 184 78 624 thousand 4,881 580 61 followers IN NUMBERS countries 10,922 students and total staff UK/EU international UK/EU international adult learners had FINANCIAL undergraduates undergraduates postgraduates postgraduates visitors (an all-time high) Aug 18 Jul 19 OVERVIEW guided visits WITH THANKS STAFF STUDENTS 2018-19 STUDENT INTAKE MUSEUM SOCIAL MEDIA 36 37 FINANCIAL OVERVIEW ANNUAL FINANCIAL PERFORMANCE facilitate world-class tuition and to provide the majority INVESTMENTS ‘total return’ basis, to increase the overall return on our FINANCIAL REPORT The Academy achieved a good financial performance of our bursary and scholarship funding. We recognised The Academy holds a substantial investment portfolio assets to fund student awards. OVERVIEW 2018-19 in 2018-19. Under the stewardship of the Governing £5.4m in revenue donations in 2018-19, and we are very based on capital gifts donated or bequeathed over the Body and Senior Management Team, we have optimised grateful for the generous support of our donors. years. The purpose of these gifts is mainly to provide CAPITAL PROJECTS income-generating activities and carefully controlled scholarships and bursaries for students. The portfolio The new theatre and recital hall have been in constant expenditure, directing our resources to deliver our With the theatre project drawing to a close, we is managed by external fund managers within guidelines use since they opened in spring 2018. Additional strategic objectives. We have focused on continuing to recognised £0.7m of theatre donations in revenue set by the Finance and General Purposes Committee. philanthropic funds enabled us to revitalise the theatre offer a vast range of educational opportunities for our in 2018-19. The value of the portfolio was £41.6m at July 2019, foyer. The work includes acoustically treated wood growing student population, while making the most having decreased slightly during the year, as markets panelling and a mosaic floor. of our wonderful new performance spaces, the Susie EXPENDITURE fell generally. In August 2018, we switched our Sainsbury Theatre and Angela Burgess Recital Hall. The largest tranche of our expenditure goes on expendable endowment funds to be managed on a Judith Barber Director of Finance After adjustments, the Academy made an underlying teaching and educational support costs. Out of a total operating surplus of £0.4m in 2018-19, which is expenditure of £25.1m in 2018-19, £13.9m (55%) related EXPENDITURE INCOME consistent with our aim of making a small surplus to teaching, academic support and general education £25,056,000 £25,789,000 each year, to be reinvested in teaching and the estate. costs. This represents an additional £0.9m versus the previous year, and includes an increased investment Catering/ Other Theatre residences £414,000 donations INCOME of our own funds in bursaries, to ensure the best and £1,060,000 £743,000 The Academy’s total income (before donations) in widest range of students are able to attend the Academy. 2018-19 – mainly from tuition fees, government grants and investment income – was £19.2m. Although our The other major cost area is the estate, which, in 2018- Donations/ capital grant funding was lower than the previous year 19, amounted to £5.5m (22% of total costs). This has endowments Premises £5,857,000 (when we received £0.7m for the Virtual Conservatoire risen by £0.6m year-on-year, reflecting a full year of £5,418,000 Teaching project), tuition fee income increased by £0.3m as a higher rental costs following a rent review, and higher £8,833,000 Tuition fees result of recruiting an additional 16 students, and catering depreciation charges associated with the full-year use £10,758,000 income increased following a review of our services. of the theatre. We have retained our investment in rented off-site practice space for students, originally Central LOOKING BACK DONATIONS AND ENDOWMENTS secured to mitigate the effects of the disruption to admin OFS and £4,019,000 PHILANTHROPY During 2018-19 we redirected our fundraising efforts practice areas caused by the theatre redevelopment, Other funding General £1,181,000 BENEFICIARIES from the theatre redevelopment project towards but which adds greatly to the student experience. education council grants £5,016,000 ALUMNI initiatives to widen participation and to provide £3,860,000 OUR YEAR bursaries and scholarships for students who might not Ongoing expenditure and project costs are monitored Student/staff Academic support IN NUMBERS otherwise be able to study here. Although the overall carefully to ensure that we achieve value for money. To facilities Catering/residences £227,000 £511,000 FINANCIAL cost of educating a student at the Academy (up to make the most of our funds, improve our bargaining Other £860,000 OVERVIEW £35,000 per year) is met in part by our income streams, power and make efficiencies, we continue to use academic services Investment income WITH THANKS we rely on our extraordinary donor community to dedicated procurement support via a cost-sharing group. £714,000 £1,374,000 40 41 ANNUAL DONORS ORGANISATIONS Enstar Capital Limited Ronald and Rita McAulay The Clarence Westbury INDIVIDUALS Mark and Margaret Elliott Sir Karl Jenkins In memory of Alex Ross Damian Wisniewski WITH THANKS Abercorn School Fairfield Trust Margaret & Richard Foundation Charles and Kate Elmitt and Sir Elton John and The Rt Hon the Lord David Witherow and REPORT Many of the achievements in The Alchemy Foundation Toni V Fell Musical Merrell Foundation Alex and William Claire Alexander Pauline Brandstätter David Furnish Rothschild OM, GBE Elizabeth Wright 2018-19 The American Society for Charitable Trust The Mills Williams de Winton Trust Farid Alizadeh The Enlightenment Estate of the late Sir George Russell CBE and Richard and these pages were the Royal Academy of Fernside Trust Foundation The Wolfson Foundation Dr Heather Allan Scholarship Patricia Jones Lady Russell Jacqueline Worswick possible only thanks Music (ASRAM) Gerald Finzi Charitable Trust GM Morrison Yamaha Music Europe The Athena Scholarship Estate of the late Jean-Charles and Lady Sainsbury John and Julia Yorke to generous gifts Ambrose and Fishmongers’ Company’s Charitable Trust Angela Baker Albert Eskinazi Luce Julien of Turville CBE from our donors. Ann Appelbe Trust Charitable Trust The Countess of Munster Mikhail Bakhtiarov and The Hon Mrs Gillian Fane Jonathan Julyan Lord Sainsbury of Turville We also thank those The Aquarius Trust Ltd Fondation Meyer Musical Trust Svetlana Besfamilnaya Matthew and Sally Ferrey Joseph and Jill Karaviotis Estate of the late Allan Scott donors who wish to Those who gave Associated Board of Charlotte Fraser Foundation The Clarence Myerscough Martin Bashir Kurstin Finch Gnehm Rehmet Kassim-Lakha James Smillie £1,000 or more the Royal Schools of Future of Russia Foundation Trust Nicholas Berwin Denys and Vicki Firth de Morixe Sir Martin Smith and remain anonymous during this financial Music (ABRSM) Gatsby Charitable National Heritage Kate Bingham Barbara Fisher OBE Neil King Lady Smith OBE year (1 August 2018 Norman Ayrton Foundation Memorial Fund Simon Birrell The Fordyce Award Claire Kitchin Stephanie Sobey-Jones Scholarship Trust The Grand Duo Charitable Orbis Pictus Trust Stephan von Bismarck and Michael Foss Chung Nung Lee Robert Spiller to 31 July 2019) are Backstage Trust Trust and Suzanne Jack Petchey Foundation Nilufer von Bismarck OBE Estate of the late Rose and Dudley Leigh The late Sir James Spooner listed here – we The Sir John Beckwith Skelton Masterclass PF Charitable Trust Lord and Lady Blackwell Sheila Frankel Lord and Estate of the late Andrew are deeply grateful Charitable Trust Harbour Foundation The Rothschild Foundation Dame Colette Bowe Neil and Debbie Franks Lady Lloyd of Berwick Kerr Stewart-Roberts to you all. The Ben Loyal Trust The Hargreaves and Santander UK Sally Box Henrietta Freeman-Attwood Dame Felicity Lott DBE Lord Sumption OBE, PC Maria Björnson Ball Trust The Martin Smith Dr Nicholas Breach and Professor Jonathan Mark and Liza Loveday and Lady Sumption Memorial Fund Derek Hill Foundation Foundation Joanna Breach Freeman-Attwood CBE Hin-Cheung Lovell Dr Matthias von der Tann The Blyth Watson The Honourable Society of Snowdon Trust John Burgess Joyce Fretwell Simon Lyons In memory of Charitable Trust Knights of the Round Table Nicholas Snowman OBE Lord and Lady Burns Professor Michael Gilsenan Kirsty and Mary Blanche Tannock The John Brockway Independent Opera Sophie’s Silver Lining Fund Robin Butler Kyoko Gledhill Russell MacDonald Marjorie Thomas Art of Huntington Foundation International Music and The JMCMRJ Sorrell Estate of the late Sam and Jane Gordon Clark Cathy Mackerras Song Prize Calleva Foundation Art Foundation Foundation Kenneth Bysouth Nic and Deb Grabien Raffy and Valentine Thomas The Carr-Gregory Trust International Students The Steel Charitable Trust In memory of Charles and Analida Graham Joanne Manoukian Jonathan Thorne Cavatina Music Trust House Steinway & Sons Sheila Bysouth Cornelia Grassi Jane and David Metter William Tilden CHK Charities Limited The Colin Keer Trust The Tansy Trust Christopher Campbell CBE Nigel Hall Vincent Meyer Christopher Tolley Winifred Christie Trust Khodorkovsky Foundation The Thompson Family Michael Campbell Nigel Hamway Daniel Moore Professor Sir Richard Clemence Charitable Trust Kohn Foundation Charitable Trust John and Vera Chown Fiona Hannay Estate of the late Jill Mora Trainor KBE and Professor The John S Cohen LetterOne Tillett Trust Gordon Clark Peter Hardy and the Friends Barbara Ann Nash Marguerite Dupree Foundation Leverhulme Trust Training and Research Estate of the late of the Clumber Studio Judith Parker Anthony and Peta Travis The D’Oyly Carte John Lewis Partnership Global Education Trust David William Cooper Hilary Hart Timothy and Mary Tredennick, in honour Charitable Trust The Richard Lewis/ Anthony Travis Robert and Laura Cory Rosamund Hattey Madeleine Plaut of her sister, Joy LOOKING BACK Derwent London plc Jean Shanks Trust Charitable Trust Jonathan Crown The late Professor Richard Portes CBE Estate of the late PHILANTHROPY The Desmond Family Philip Loubser Foundation The Constance Travis Miranda Curtis Christopher Hogwood Richard and Alice Portnoy Marie-Luise Waldeck Foundation Loudwater Partners Ltd Charitable Trust Neil Dalrymple In memory of Susan Pragnell The Revd John Wates OBE BENEFICIARIES Disney Theatrical The Loveday Universal Music UK Sir Howard and Lady Davies Nicky Hopkins Jonathan Quin and Carol Wates OUR YEAR Productions Charitable Trust Sound Foundation Ina De and James Spicer Jean Hornbuckle Russell John Race Maja Wegrzynowska IN NUMBERS The Diversity Project Charity The Lynn Foundation University of London Ingrid and Amit De The Earl and Emily Reid Professor Mark Wildman FINANCIAL The Drapers’ The Helen Rachael The Howard Nigel Doggett Countess Howe Vanda Renton In memory of Charitable Fund Mackaness Charitable de Walden Estate Heather Dupre Estate of the late Paul Rhodes Martin Williams OVERVIEW The Ann Driver Trust Trust Jo Weinberg Flute Award Eaton Music Scholarship Mary Hutchinson Sir Simon Robey KBE Owen Williams-Ellis and the WITH THANKS The Duet Foundation The Matthiesen Foundation late Veronica Williams-Ellis 42 43 ANNUAL GOVERNING BODY SENIOR MANAGEMENT TEAM HONORARY TRUSTEES GOVERNANCE REPORT 2018-19 PATRON INDEPENDENT MEMBERS (TRUSTEES) PRINCIPAL Lord Armstrong of Ilminster GCB CVO Hon FRAM HM The Queen CHAIR Professor Jonathan Freeman-Attwood CBE BMus, MPhil, Sir Rodric Braithwaite GCMG Hon FRAM PRESIDENT Dame Jenny Abramsky DBE Hon RAM Hon RAM, FKC, FRNCM, FRCM The Rt Hon Lord Carnwath CVO Hon FRAM HRH The Duchess of Gloucester GCVO Hon FRAM DEPUTY CHAIRS DEPUTY PRINCIPAL AND DEAN Sir Howard Davies Hon FRAM VICE PRESIDENTS Lady Sainsbury of Turville CBE Hon FRAM, FSA Mark Racz BA, MFA, Hon FBC, Hon RAM Matthew Ferrey Hon FRAM Lord Burns GCB Hon FRAM The Rt Hon Lord Sumption OBE PC, FSA, FRHistS, Hon FRAM DEPUTY PRINCIPAL (PROGRAMMES AND RESEARCH) Lesley Garrett CBE FRAM Sir Elton John CBE Hon RAM, DMus TRUSTEES Professor Timothy Jones MA, DPhil, LTCL, Hon RAM Sam Gordon Clark CBE Hon FRAM Sir David Lumsden MA, DPhil, Hon RAM, Hon FRCO Lord Blackwell DEPUTY PRINCIPAL (ADVANCEMENT) Lady Heywood Sir Curtis Price KBE Hon RAM John Burgess Hon FRAM Kirsty MacDonald BA, MA (Oxon) Professor Sir Barry Ife CBE FKC, FBbk, Hon FRAM, FRCM, FGS Robin Butler Hon FRAM DIRECTOR OF FINANCE Steven Isserlis CBE Hon RAM Lucy Crowe FRAM Judith Barber BSc, CPFA, Hon ARAM Dame Felicity Lott DBE FRAM, FRCM Amanda Hill (resigned May 2019) George Nissen CBE Hon FRAM Rehmet Kassim-Lakha William Robert C Ogden Hon FRAM Luke Lloyd-Davies (appointed September 2019) Professor Roger Parker Hon FRAM Timothy Parker Christopher Purvis CBE Professor Sir Richard Trainor KBE BA, MA, DPhil, FKC, Hon FRAM Sir John Ritblat Hon FRAM The Duchess of Wellington OBE (appointed September 2019) Sir Simon Robey Hon FRAM William de Winton Lady Smith OBE Hon FRAM Damian Wisniewski BSc (Eng), ACGI, LRAM, ACA Sir Martin Smith Hon FRAM Nicholas Snowman OBE Hon FRAM ACADEMIC STAFF REPRESENTATIVES Sir James Spooner Hon FRAM (died August 2019) Melanie Ragge MPhil (Cantab), MA (Cantab), LRAM, DipRCM John Suchet Hon FRAM Jon Thorne Anthony Travis Hon FRAM ADMINISTRATIVE STAFF REPRESENTATIVE John Willan FRAM LOOKING BACK Kathryn Adamson MA, Hon FRAM Julia Yorke Hon FRAM NEW SPACES STUDENT UNION PRESIDENT AND PHILANTHROPY STUDENT REPRESENTATIVE BENEFICIARIES Peter Cowlishaw BMus (retired July 2019) OUR YEAR The title of Honorary Trustee is awarded to retired IN NUMBERS SECRETARY TO THE GOVERNING BODY Independent Members of the Governing Body to FINANCIAL Sandra Green Hon ARAM recognise their distinguished service to the Academy. OVERVIEW WITH THANKS 44 45 ANNUAL The Royal Academy of Music was established in 1822 REPORT and granted a Royal Charter in 1830 (Supplemental 2018-19 Charter granted in 1998). The Academy is a registered charity, number 310007, and a company registered with Companies House, number RC000438.

Every effort has been made to ensure that the information included in this publication is correct at the time of going to print. Any queries regarding its content should be addressed to [email protected].

IMAGE CREDITS Pages 2, 11, 47: Richard Hubert Smith Pages 3 (top), 8, 22: Chris Christodoulou LOOKING BACK Pages 4, 9, 22, 24, 25 (left), 26, 27, 28, 34, 38: Frances Marshall NEW SPACES Pages 6, 12: Benjamin Ealovega PHILANTHROPY Pages 7, 18: Robert Workman BENEFICIARIES Page 10: Steve Bone OUR YEAR Page 14: Simon Jay Price IN NUMBERS Page 25 (right): Mira Arnaudova FINANCIAL Page 31: Tim Dunk Photography (left), Ruth Crafer (right) OVERVIEW Page 32: Jeremy Ayres Fischer WITH THANKS Page 33 (left): Otto van den Toorn 46 Patron HM The Queen

President HRH The Duchess of Gloucester GCVO

Principal Professor Jonathan Freeman-Attwood CBE

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