The Guildhall School Magazine Spring/ Summer 2016

4 Behind the Scenes 26 The Interview Playing in Rep Athole Still

6 Your latest School 30 Then & Now news and stories Debbie Wiseman PLAY32 Class Notes 35 In Memoriam Sir George Martin

12 Guildhall to the World New York, New York

14 My Legacy Gift Kevin Webb

16 Where art meets business

22 Doctor in the House 38 A Day in the Life Philip Venables Sara Lee Editorial Group Welcome to the latest edition of PLAY Short Courses Deputy Head of Development (Alumni & Supporter Relations) Recently, I spent two days meeting with current students who Rachel Dyson 2016 had applied to be involved in our Easter telephone appeal. I Head of External Affairs Jo Hutchinson asked them all the same questions and their responses, regardless of subject or level of study, were astonishingly consistent and Head of Development Summer Arts Camp Duncan Barker often quite touching. New Summer Arts Camp for 11-14 years (in association with the Barbican) Marketing & Communications Officer When asked ‘Why did you choose to study at Guildhall?’, many Drama Summer School Rosanna Chianta students spoke of loving the ‘easy-going’, ‘friendly’, ‘progressive’ Acting in Shakespeare & Contemporary Theatre Writer & Editorial Consultant Acting in Musical Theatre environment at Guildhall; how they felt at home as soon as Nicola Sinclair Drama Summer School for 16-17 years they walked in for an open day, an audition or to visit a friend Art Direction & Design who was here before them. They talked of the collaborative Music Summer School Pentagram New Brass and Percussion Week Jessie Earle opportunities that arise from the combination of conservatoire Advanced Saxophone and drama school, and from the School’s partnerships with New Advanced Viola and Performance Health Contact external organisations such as the LSO, the Barbican and the New Advanced Oboe New Oboe and Cor Anglais Artistry Email Royal Opera House. Jazz and Rock Week [email protected] Jazz Singers’ Weekend Twitter Advanced Jazz In answer to ‘What do you most enjoy about your course?’ the @guildhallschool Singing Taster common replies were ‘the great teachers’ (naturally), ‘freedom’— A Cappella Choral Facebook the freedom to experiment, to take risks in a safe space and to Essential Music Theory GuildhallSchoolAlumni be entrepreneurial – and the ‘variety’ of projects, electives and Music Theory: Beyond Grade 5 Post New Essential Aural Skills Development & Alumni performance opportunities available. It is fitting, then, that New Aural Skills: Beyond Grade 5 Relations Office this edition of PLAY features some truly enterprising students, Guildhall School Technical Theatre Summer School staff and alumni. of Music & Drama Stage Management Skills Silk Street, Barbican Opera Stage Management London EC2Y 8DT Over the years, I have spoken to many alumni about their time at Stage Lighting Skills Practical Theatre Sound Skills Guildhall and, while the specifics of the courses and opportunities Video Projection Mapping Photo Credits on offer have changed, the essence of Guildhall seems to have Prop Making Skills Clive Barda, Tom L. Blau, Introduction to Costume remained the same. Our student callers look forward to hearing Carnegie Hall, Paul Cochrane, about, and learning from, the experiences of those who came Company Pictures/Playground Continuing Professional Development Entertainment for BBC2, before them as well as – in years to come – talking to the next New Training in Classical Voice Lizzie Coombes, Rachel Mindfulness for Performers generation of Guildhall students in their turn. Dyson, Guy Levy, R. McElroy, Creative Music Training Juan Carlos Orihuela, Laura Introduction to Automation for the Entertainment Radford, Morag René, ROH/ Industry (in association with Stage Technologies) Lyric, Susana Sanroman, Clive Totman, Felipe Tozzato Booking now open. Find out more at gsmd.ac.uk/summer Rachel Dyson, Editor

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

2 3 BEHIND THE SCENES This February saw where they do up to seven shows in one night poker game takes place, and is rep, so it was great to put that experience under pressure to join the game. He tries Guildhall stage its first to use here. For this double bill we have to resist because he needs to keep his ‘rep’ season in over a two separate directors but one designer money for his daughter’s birthday day decade, scheduling and one lighting designer, plus the video out, but ultimately ends up joining in designer for Pinter. You have to schedule and gambling it all away. It’s the journey alternating performances everything very carefully, with a technical of someone trying to do the right thing of Patrick Marber’s rehearsal then dress rehearsal for each, but being unable to defeat his own Dealer’s Choice and a but it all works in reverse so the last show addictions. In many ways it’s an ugly you checked is the first show you open. role, but a really interesting part to play. Pinter triple bill in the Then there’s the lighting rig. You either Studio Theatre. The format have to set up one rig and refocus it for Dealer’s Choice is a joy to perform in provides a great challenge the next show, or design one solution that because the writing is so rich, and Mike works for both. In this case you have two Alfreds is a brilliant director. I’m in my for all involved, so shows with two very contrasting briefs. third and final year at Guildhall, yet PLAY took a peek at the Dealer’s Choice is quite naturalistic as it despite having had this amazing training backstage drama takes place in a restaurant, whereas Pinter I felt surprisingly nervous about taking is more abstract and off the wall, with on the modern text. I needn’t have lots of big shafts of light and abstract worried. What I found is that my natural angles. It’s logistically challenging but instincts are still there but now I have Mike Alfreds good fun. In our third year at Guildhall this new technical ability from training Director, Dealer’s Choice most of our time is spent managing on totally different plays, like Shakespeare Dealer’s Choice is a naturalistic play about shows and dealing with new challenges and Chekhov. All that training comes six men whose main occupation in life is like this, and it’s a great opportunity to to the fore and actually feeds the modern poker, and it destroys them. The play is set get out there and learn through osmosis. text. Suddenly this big scary role comes in a restaurant and we are trying to make to you quite naturally, and you discover it feel as realistic as possible, especially Kathryn Mercer you can trust in the training that’s got you the actual poker games. Technical Manager here. That’s a great feeling. As Technical Manager I take charge of Reps can be difficult for the technical the set, making sure it can be assembled Jo McInnes staff, because the performances are more and dismantled quickly in the turnaround Director, Pinter triple bill PLAYING spread out. As a director, you’re not sure and that everything is safe. It’s important I don’t have the opportunity to direct whether the cast will return from the to make sure everyone knows what students very often, but I do work with two-day break feeling refreshed, or if they’re doing, and to find solutions that Guildhall once every couple of years. the show will have lost some of its keep everybody happy. Part of that is It’s a process I find really nourishing. momentum. In fact it’s going very well making sure the designer, lighting You learn a lot by going back to a place so far, and it’s proving useful to have technician and director are talking to of learning and working with people IN REP more time to refine things. each other about what they want, and who are just starting out. Because their finding compromises that meet everyone’s learning process is much more visible This isn’t my first time directing needs. It can require a lot of tact! You you gain so much as a practitioner, Guildhall students (I directed Twelfth have to be ready to change things every and become more aware of your own Night here last year) and I’ve found the day and not take it personally or get working practices. cast excellent once again. They’re well precious about it. That’s the thing about trained, skilled and talented performers. working with creatives! Doing Pinter feels particularly important In fact, I don’t see much difference because he strips his writing to the core, between working with Guildhall students I think reps are a great opportunity to which forces the actors to be economic and seasoned professionals. What they teach us a different way of working. in their choices. It’s a great challenge for lack in experience they make up for in Guildhall has such high professional the actors, and the rep format also allows commitment. Egos can be challenging standards but when we graduate we them to work on a shorter text as part to deal with for a director but these won’t always be working in venues that of a smaller cast. So far the actors have students have a very healthy attitude and have the resources to put on a really slick been fantastic to direct: very open, strong, are eager to learn. It’s been particularly production. The rep has a nice fringe feel: talented and creative. This industry can impressive to see them staying late after we call it ‘scissors and glue management’ be depressing because at times you feel rehearsals to master the art of poker – I because you use whatever you can, it’s driven as much by fashion as talent, hope we’re not encouraging bad habits. however you can, to make it work. It but I love working with Guildhall teaches us to be creative and resourceful. because they work holistically, focusing Rory Beaton on the person as much as the actor. The Lighting Designer George Edwards result is a well-rounded professional I’m really enjoying taking part in Actor, Dealer’s Choice who has the tools to cope with whatever Guildhall’s rep season. I have some I play Sweeney in Dealer’s Choice. Sweeney the job throws at them. As a director I experience of rep from Pitlochry Theatre, works in the restaurant where the late find that really refreshing.

4 5 Congratulations, Acting graduate Jodie Whittaker gave the acceptance speech on behalf of the Class of 2015 honorands, while 2014 Honorary Fellow Mark Jonathan also attended to receive On Friday 6 November Guildhall presented his Fellowship from last year. 200 students with their degree and diploma certificates, and announced Fellowships Honorary Fellowships were awarded for a distinguished list of honorands. to Wigmore Hall Artistic and Executive Director John Gilhooly OBE, Chief The annual Graduation Day at City of Executive of Arts Council England Darren London’s Guildhall included a welcome Henley OBE, lighting designer Johanna News from the Chairman of the Board of Town, and Chief Executive of Aldeburgh Governors, Deputy John Bennett, before Music Roger Wright CBE. an address by Principal, Professor Barry Ife, and presentations by the Right Prior to the presentation of degrees and Honourable The Lord Mayor Alderman diplomas, the School awarded Gold Alan Yarrow. Medals to Marta Fontanals-Simmons and Jennifer Witton (Music), Oscar This year, those made Fellows of the Batterham (Acting) and Emilie Kaas School included: Claesson (Technical Theatre). Hannah Bibbins, Estates & Facilities Senior Projects Manager The Lord Mayor’s Prize and Lady Mayoress’ Prize were awarded to Edward Sayer and Jim Dean, Orchestral Manager Seth Scott Deuchar respectively, while Alderman David Graves, current Jonathan Quaintrell-Evans and Martin Deputy Chairman of the School (and Wade were presented with Sheriffs’ Prizes. outgoing Chairman) Already a Gold Medal recipient, Emilie Kaas Claesson was further awarded Danny McGrath, Head of Physical the Chairman’s Prize, while Matthew Leia Zhu performing in the Actor Training Rainsford won the Principal’s Prize. The Nutcracker Competition Caroline Palmer, Piano Professor Lutine Prize for Junior Guildhall was presented to Dan-Iulian Drutac. Student success Jonathan Vaughan, Vice Principal and Director of Music Junior Guildhall violin star months later, now aged nine, she went on Congratulations to our distinguished to win first prize in the 16th International Jodie Whittaker, Acting alumna Class of 2015! makes history – twice Television Contest for Young Musicians Talented violinist Leia Zhu has won two ‘Nutcracker’ Competition in Moscow. Once prestigious international competitions in quick again, Leia became the youngest-ever winner, succession, marking her out as one of the and this time the first British winner in the prodigious music talents of her generation. history of the competition. In October, Leia was awarded first place at For her winning performance, Leia played the International Russian Rotary Children’s alongside the Russian National Orchestra, Music Competition in Moscow. Then aged just conducted by Mikhail Pletnev in the prestigious eight years old, Leia became the youngest prize Tchaikovsky Concert Hall. winner the competition has ever seen, as Leia joined Junior Guildhall in September well as being the first British winner in the 2015, with her areas of study covering chamber 13 years since it began. music, composition and piano. She also studies Out of six young musicians selected for privately with Itzhak Rashkovsky. “It is so the final, Leia’s performance of Mendelssohn’s exciting to play in different countries and Violin Concerto at Moscow’s Gnessin Special meet so many new people,” said Leia. “Russian School of Music gained her first prize in the classical music has such a distinctive history. competition for 8-12 year olds, and included For me to play in the home land of names such Professor Barry Ife, Johanna Town, Danny an award of US$3000. as Tchaikovsky, Rachmaninov, Shostakovich, McGrath, Jodie Whittaker and Mark Jonathan But Leia was not done yet, and just two was such an inspiration!”

6 7 School news School news Guildhall calling! Guildhall says thank you

In early April, current students from the Guildhall School will On 16 February, 100 staff and students of Guildhall filled the telephone alumni to talk to them about their respective Silk Street foyer to pay tribute to the generosity of the School’s experiences at Guildhall and the positive impact that former donor community. In the past year, some 924 donors have students continue to have on the School today. supported the School, raising more than £2m between them. With 47% of Guildhall students receiving financial support The calls will provide an opportunity for alumni to hear about in 2014/15, staff and students turned out in force for the second annual Thank You Day. Together they recorded video messages new developments at the School and to find out what it is like School news about what Guildhall means to them, signed donor thank you to be a Guildhall student in 2016. How much has changed? Techs in the City cards, donned props for a fun photo shoot and even got baking! What remains the same? Meanwhile, the ‘thank you’ messages continued on social media, Guildhall’s Technical Theatre students For more information and to find out about our student callers under #guildhallthanks: have been leaving their mark on the City of London with a range of ambitious and go to gsmd.ac.uk/telephonecampaign Oscar Colomina Bosch innovative projects. 5 fab years @guildhallschool changed my life. Anonymous In the autumn of 2015 Guildhall donor was crucial. Now I teach @RoyalAcadMusic and produced a composition of music and School news eligible receiving a joint BA in Acting understanding of each other’s cultures, @MenuhinSchool #GuildhallThanks light inspired by the stories behind the Guildhall signs studies from both Guildhall and CAD, performance traditions and training Magna Carta, to mark 800 years since subject to validation by both institutions. methodologies. The Guildhall School is Malcolm Edmonstone the creation of the Charter. The spectacular unique new delighted to welcome Central Academy of In my 5 years @guildhallschool I met my now wife and closest Son et Lumière was projected onto the fine The unique degree will see students Drama students to London and is proud friends, had an incredible education and learned how to teach Hindoo-Gothic architectural façade of China partnership spend the first and fourth year of the to be making a significant contribution #guildhallthanks the City’s Guildhall, bringing the building course in Beijing, while studying in to cultural exchange in this way.” and this unique chapter of history to life. London for the second and third years. Erin Witton The 800-year anniversary also provided In preparation for the overseas study In signing this agreement with CAD, #GuildhallThanks The almighty @LeverhulmeTrust, without inspiration to Guildhall’s student costume period, the CAD students will undertake Guildhall is partnering with one of the whom I couldn’t spend 95% of my waking hours in a theatre, designers, who were approached by the intensive study of English in the first finest drama and stage arts institutions and still afford to eat. City of London Cleansing Team to create year, and upon arrival in London will in China. The first theatre higher costumes using recycled products to be be enrolled in an intensive induction educational institution of the People’s Emily Laing worn in the Lord Mayor’s Show 2015. programme. The two-year London Republic of China, CAD is now affiliated #GuildhallThanks. That is all. You guys know what you did for Taking inspiration from the 800 years programme will allow the CAD students to China’s Ministry of Education, and me for three years. @guildhallschool. Miss it everyday. theme, Year One Costume Supervision to follow, as far as possible, an equivalent acts as the headquarters of the China students married old and new with training process to that of Guildhall’s Alliance of Theatre Higher Educational costumes constructed from video tape, BA Acting students. Throughout the Institutes, Asia Theatre Education plastic bags, bottle tops, sofa covers, sweet programme students will be provided Centre and holds the UNESCO Chair wrappers and more. The costumes were with support and guidance from both on Theatre Education. The Academy has a great success and featured on the BBC institutions to ensure the training in the only state-level teaching team in television coverage of the procession. both continents is as accessible and acting, the only national innovative On 4 March, Technical Theatre students rewarding as possible. experimental zone for talent cultivation once again helped the City of London to in musical acting, and the only state-level celebrate a great national anniversary: Professor Barry Ife, Principal of the demonstration centre for experimental the 400th anniversary of Shakespeare’s Guildhall School, signed the agreement teaching in Drama (Film & TV). death. Hot on the success of the Magna at a ceremony in December on CAD’s Carta Son et Lumière, Guildhall Library Dongcheng Campus, along with CAD Announcing the partnership, Professor and Guildhall School hosted another President Professor Xu Xiang. “This Xiang said: “The Guildhall School of spectacular light and sound production, In the first partnership of its kind, is a ground-breaking initiative in Music & Drama is a world-renowned this time in celebration of the Bard. The Guildhall School and Beijing’s Central international acting training, aiming arts institution, and the Central Academy historic façade of Guildhall was transformed Academy of Drama (CAD) have agreed to equip Chinese students to work in of Drama has complete confidence in with 3D projection mapping technology to launch a joint Bachelor’s Degree in what is increasingly a global industry,” the quality of training by the Guildhall and a special music composition. This was Acting Studies for Chinese students. said Professor Ife. “Developed during this School. We hope that through the followed by a celebratory event featuring UK-China Year of Cultural Exchange, two-year study at Guildhall, the students’ Shakespeare-themed cocktails and The course will start in September 2016 our partnership forms part of the level of expertise in acting can be greatly displays including Shakespeare’s signature and offers 25 students, nominated by UK’s growing commitment to work improved, and that they will play a vital on his mortgage deed and Guildhall CAD, the opportunity to train for two collaboratively with Chinese performing and decisive role in the development of Library’s copy of the First Folio, considered Saffron Hall years at each institution, with those arts institutions to enhance mutual China’s performing arts.” one of the five best in the world.

8 9 School news generation of music creators, and this multidimensional MIDI controller that partnership will enable the School to teach lets music-makers control and shape New Seaboard its students in some of the most cutting- sound through five dimensions of touch. lab brings next edge, contemporary ways to make music. This touch-sensitive interface moves the Seaboard RISE several steps beyond the generation of traditional keyboard, which offers only musical instruments one dimension of touch – strike – for to Guildhall controlling sound. “We are delighted to announce this Guildhall is delighted to announce exciting new partnership that demonstrates the opening of a state-of-the-art new Guildhall School’s commitment to be Seaboard Lab in its Electronic Music at the cutting edge of Electronic Music Department. Under a new collaboration, performance and production,” said London-based technology company Mike Roberts, Head of Electronic Music. ROLI has opened its first Seaboard Lab “The Seaboard RISE is one of the most at Guildhall, with eight of the Seaboard exciting and important developments RISE instruments – hailed as the next in expressive music technology for generation of piano keyboard – housed many years.” in a dedicated studio. Guildhall will make the most of the opportunity by Roland Lamb, ROLI’s CEO and inventor establishing a Seaboard Ensemble of the Seaboard, added: “At ROLI, we comprised of Electronic Music students, are committed to enabling people of all and will perform the first ensemble ages and backgrounds to access their performance of Seaboards at the potential as expressive music creators. Barbican Centre. We are very excited to be partnering with Through the Seaboard Lab and such a prestigious institution to bring the ROLI is credited with inventing award- Ensemble, Guildhall has access to the Seaboard to students who are studying winning musical instruments for the next award-winning Seaboard RISE, a music at the very highest level.”

School news Guildhall appoints András Keller as Professor of Violin

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

This is the first UK appointment for the renowned violinist who served as head of the Chamber Music Department at his alma mater, the Franz Liszt Academy of Music, from 2012–2015. Flashback András commented: “I’m extremely pleased to join Guildhall, where I will do my best to build up a great violin class. In Up to Room 69, John Carpenter Street, 1950 the past few years, I’ve met several exceptional young artists from Guildhall, and besides their great technical ability, Were you a student at Guildhall School in the 1950s? Do you still have your I find all of them have great musical sense, commitment, Guildhall scarf, as modelled by the lady on the left? Do you recognise these students? We would love to hear your stories and see your photographs of life at Guildhall. interest, and understanding. So I said to myself, this could Please do get in touch (see contact details on p3). be ‘my school’! I can’t wait to pass on to them what I have learned from my great masters, Sándor Végh, György Kurtág and Ferenc Rados.”

10 11 GUILDHALL TO THE WORLD

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ having that first performance under our belts gave us the confidence we needed to make the most of the opportunity ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ The event at Carnegie Hall. NEW YORK, NEW YORK ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ Every two years, Guildhall gives three musicians the opportunity to perform in New York, at Carnegie Hall. ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ I was selected for the performance on 20 January, along with pianist Jean-Sélim Abdelmoula and clarinet player Out and about ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ Stephen Williams. I was so excited to have the chance to be heard at such a prestigious venue. I haven’t been to New York since I was 10 years old so it was great to experience it as an adult. We were lucky to get out there just before the storm descended, but it was This January, three senior Guildhall still absolutely freezing cold! When we arrived we made the surprise discovery that our hotel rooms had all been students headed to the Big Apple for the upgraded, so we had lovely rooms overlooking Central Park. We spent most of our five days rehearsing, but we opportunity of a lifetime: their debut did manage to fit in some sightseeing.

performance at Carnegie Hall. Violinist One of the great things about New York is that it’s easy to walk everywhere, so we had a wander around and visited Savitri Grier tells all the Empire State Building, the Met and Times Square. It was a great way to get a feel for the city, and I definitely ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ made two new friends along the way.

The big night There’s so much hype attached to the name Carnegie Hall, it was hard not to feel intimidated by such a However, we had quite a tough challenge ahead of us. The prestigious venue. However, by the time we took to the programme included Debussy’s La terrasse des audiences stage we were well prepared, so the nerves didn’t stop du clair de lune and Première Rhapsodie; Stravinsky’s Three us really enjoying the performance, and the audience Pieces for Clarinet Solo; Ravel’s Violin Sonata, and Janácek’sˇ gave us a very warm welcome. In the Mists, before culminating with Bartók’s virtuosic Contrasts for violin, clarinet and piano. After the concert we went to a drinks reception for performers, alumni and friends of Guildhall in New York. The piano, clarinet and violin are such distinct instruments, We had a fantastic time – I think we were still all on such it was a challenge to get them to blend well together, and a high from the performance! I met some really interesting while I’ve been playing Ravel’s Sonata for years, Bartók’s people, and it was particularly good to meet musicians who Contrasts was new to all three of us, so we had lots of had studied with some of my Guildhall teachers in London. work to do!

The opportunity Getting ready Opportunities like these are absolutely central to becoming We obviously had a very intense rehearsal schedule to get a professional musician. By this stage of my studies I ready for our New York debut, but the great thing about already know how to practice, but you never stop learning playing with Jean-Sélim and Stephen is that we all how to communicate the music and make it mean shared the same level of professionalism. We took the something to your audience. On the more practical side, opportunity really seriously and worked well together, I also learned how to perform with jet lag! recognising that the performance needed to be polished without overdoing it and losing that sense of freshness. Last year, I was selected for representation by the Young Classical Artists Trust, so 2016 is giving me my first taste It was incredibly helpful to have the chance to perform of a professional diary. I can hardly think of a better start the concert at Milton Court on 8 January. We were a little than with a performance at the Carnegie Hall. These past on edge because the programme was still so fresh, but few months have passed in a blur of excitement!

12 13 from Chichester) and from there I’d have them on to a trumpet specialist. Junior a whole day of tuition. Guildhall made all the difference for me. It shaped me as a person because of What impression did Junior Guildhall all the skills I learned, which I still use to make on you? this day, playing in amateur orchestras MY I still remember playing in the brass band and brass bands. Supporting Guildhall is under John Clark and to begin with, I my way of helping children who will was rather scared of him! But he had a face the same financial challenges I had forensic eye for detail and pushed all of back in the 80s, and giving them the us to beyond what we all thought we same opportunities I had. were capable of. I will always be thankful Is widening participation in the arts LEGACY to John for that. Then there was the a cause that’s important to you? Symphony Orchestra’s wonderful conductor, Fred Applewhite. If Fred didn’t It’s very important to me. After think the brass section was up to scratch, graduating from Cardiff University I he’d walk straight up to us, with the worked for West Sussex Music Service, GIFT: string section of the orchestra parting where part of my role was to encourage like the Red Sea and he’d tell us what we children to take up subsidised music had to put right! People like John and lessons. We were reaching young people Fred were the teachers that shaped us whose parents had never played music, and to this day I still credit them for and who might not otherwise have the sense of professionalism I developed thought about it for their children. Sadly, KEVIN at Guildhall. I came to realise the funding cuts from central and local incredible standard of musicianship that government mean that the substantial was all around me and many of my subsidies for instrumental lessons are contemporaries have gone on to have just not there anymore. That’s where I successful performing careers. think gifts should be directed: to give a leg up to young people who otherwise WEBB Where did your interest in music wouldn’t have a chance to shine. Former Junior Guildhall come from? Why did you decide to help out student Kevin Webb has My Dad taught me. He had no by leaving Guildhall a legacy in professional training himself, but he your Will? pledged to leave a legacy had played in his local St John’s to Guildhall in his Will. Ambulance Band as a child, then joined I have a tremendous affinity for Guildhall the Regimental Band of the 10th Royal because of the impression it made on me He takes time out to tell Hussars during his National Service. He at a young age. I do feel very strongly that PLAY why Guildhall has taught me up to Grade 6. I specifically those of us who benefited from a free remember that, because to get into music education have an obligation to earned his support Guildhall I needed a distinction at Grade 5, help the next generation obtain the same and I only had a pass. So, I took Grade 6 benefit we enjoyed. I don’t regard myself Can you tell us about how you first and then anxiously awaited the result. as wealthy and other Guildhall alumni got to know Guildhall? On Christmas Day he presented me with may also say that they don’t have lots of I was very lucky to grow up in the days a certificate of distinction for Grade 6. money and small gifts won’t make a when local authorities still funded 100% I remember being a bit annoyed that difference. However, if enough of us were bursaries at the junior departments of he kept it from me until Christmas Day to donate within our means that would the London conservatoires. I auditioned – he couldn’t resist a bit of drama! add up to a huge amount. I think we all for a bursary with West Sussex County have a duty to give something back and we Could you have attended Junior Council. At the time, I played in a local can give what we can whilst still providing Guildhall without this funding? wind band and the principal trumpet for our families when we’ve gone. had gone to study at Guildhall, so I told No, absolutely not. I’m sure my parents gsmd.ac.uk/legacy the Council that I would like to go there would have done their best to find me a too. I didn’t realise at the time how decent local private instrumental teacher, prestigious Guildhall was, but the West but there was no way they could have Sussex Music Advisor did and he wasn’t afforded the Junior Guildhall fees. As confident that I would get in – which you progress and if you want to get to a just made me even more determined to high standard, it’s important to have a prove him wrong! Thankfully I did get teacher who specialises in your instrument. in, and for the next six years I had a fully I never became a professional performing funded place at Junior Guildhall to learn musician but for some years I was an the trombone. My dad used to drive me instrumental music teacher and if I had up there every Saturday morning, leaving a pupil with an aptitude for trumpet I’d at about 7am (it was a 90 minute drive take them as far as I could, then hand Junior Guildhall, 2015

14 15 WHERE ART MEETS BUSINESS

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

16 17 ave we entered the age of the creative entrepreneur? Over the About Creative Entrepreneurs centuries our conception of the ‘I’m a strong believer artist has evolved, from the artisan Guildhall’s Creative Entrepreneurs ‘maker’ struggling to make ends programme has been running for Hmeet, to the elusive genius supported in social plus profits. three years, and in that time has by a wealthy patron, to the latter-day nurtured the development of 22 professional boasting a wealth of You need both to creative businesses led by Guildhall credentials and contacts. Whatever the alumni and staff, and provided image, each has had to satisfy a market, enterprise workshops and events and yet the relationship between to many more. arts and business has often been one make it sustainable.’ of distinct unease. unique programme designed to support by Guildhall alumna and entrepreneur From September 2016, the artists in setting up their own business Michelle Wright. programme will expand beyond Enter the internet, globalisation, and a or social enterprise. Run in partnership the School community, accepting biting recession, and suddenly we find with development and fundraising Says Michelle: “When we launched the applications from aspiring the boundaries blurred between consumer enterprise Cause4, the intensive year-long programme three years ago we recognised entrepreneurs across the creative and creator, commerce and craft. In the programme provides access to mentoring that there was a gap in the market for a industries. Course participants will 21st century the paradigm is changing, and coaching, office space, networks, course that could specifically meet the benefit from an intensive 12-month and modern artists have a new power to events, funding advice and support, challenges of the creative entrepreneur programme offering: shape their own future – the question is, steering each participant from initial – the artist who is savvy enough to know are they ready? idea right through to business growth. that success means developing a portfolio Mentoring and Coaching – an of business and enterprise skills. Our Song in the City average of 30 hours of tailored, “This is a really exciting programme that vision, in this next step, is to support addresses a key need in the performing upwards of 20 new creative businesses to Creative entrepreneurship is part of our enterprise to sustain itself by striking one-to-one support arts sector,” says Enterprise Co-ordinator launch and grow each year, providing commitment to excellence now and it the right balance between commercial Marina Papageorgiou, who has a an important spur to both individuals fits solidly with our values. We want profit-making activities and a sound Office Space – access to approx. hands-on role in delivering the scheme. and the creative economy alike.” to encourage a mindset of curiosity, of creative and social business model. “One of 20 hours central London office “We support all aspects of the business’ willingness to commit and experiment, the biggest difficulties for entrepreneurs space per week, including free growth, responding to both start-up Creative catalyst to work hard and keep going when operating within the creative sector is Wi-Fi and use of utilities and scale-up. From personal experience, A first in the performing arts sector, the things are tough, to learn from mistakes that of scale,” says Kieron. “There’s lots of the Creative Entrepreneurs have been scheme has the benefit of offering a and nurture an artistic voice with the financial support for start-ups in digital Networks – access to citywide extraordinary. They come in armed non-threatening environment both to integrity to make a real difference in media and tech, because these ideas are networks and influential institutions with an idea and it’s amazing to watch help aspiring entrepreneurs to develop the world. These are essential aspects of often scalable and quick to realise profit. such as Deutsche Bank and City them grow.” their business idea away from the creative entrepreneurship.” With the creative arts, it’s often about of London Corporation “Creative entrepreneurship is about competitive ‘dragon’s den’ culture of one individual and their business idea. building bridges between the Originally open to alumni and staff of conventional incubator schemes, and Social plus profit Training – an average of 80 hours traditionally artistic mindset and the Guildhall, from September 2016 the to support early established businesses Indeed, far from insisting on polished “It’s been really interesting to observe the of seminars and workshops on core realities of establishing a sustainable scheme will also include artists from to grow. The scheme is unapologetically presentations and slick business plans various growth strategies adopted by our entrepreneurial management skills modern business,” says Kieron Tilley, outside the School community. “This about the creative sector, for the from the off, the programme encourages Creative Entrepreneurs. For example, Entrepreneurship and Enterprise initiative is an essential part of our creative sector, but with a solid and its entrepreneurs to keep an open mind Bach to Baby, a concert series for babies, Events – an average of 15 special Manager at Guildhall. “The creative contribution to cultural change in the pragmatic foundation. throughout the process, accepting that toddlers and parents developed by pianist events per year, including regular industries make a significant contribution performing arts, so I’m delighted that mistakes will be made along the way, Miaomiao Yu, is expanding through a evening talks and a range of listening to expert advice and then franchise model, while communications to the UK economy – new figures we’re now able to scale it up,” says networking opportunities published by the Department of Culture, Vice-Principal Professor Helena Gaunt. shaping their strategy accordingly. “The company Turn of Phrase is subsidising Media and Sport show the sector’s growth importance of learning from our its not-for-profit social goals with a “It’s really important to the School that Funding advice and support rate is double that of the wider UK we continue to respond to changing mistakes is a key message throughout broad programme of revenue-generating – including the opportunity to economy, contributing approximately needs and opportunities in the professions, conservatoire teaching in the arts, workshops. There are many creative pitch to select investors, funders £84.1 billion each year. support creativity and innovation, and and it’s important that our Creative ways to make an arts business work, but and supporters enable professionals to make a real Entrepreneurs benefit from this idea I’m a strong believer in social plus profits. “It’s become clear that entrepreneurship difference in society. Opening the too,” says Kieron. “It runs in our DNA You need both to make it sustainable.” is essential to the toolbox for emerging Creative Entrepreneurs scheme to a to pick ourselves up and come back Interested? professionals in the performing arts, not wider range of practitioners will enrich stronger. None of our entrepreneurs will What unites Guildhall’s diverse group Applications for this year’s Creative least when developing portfolio careers as the scope for fresh ideas and exciting get success handed to them on a plate, of Creative Entrepreneurs is a deep Entrepreneurs programme close self-employed individuals. Unfortunately, new businesses to take root.” so we need to make sure they have the commitment to the artistic, economic on 17 June 2016. We are also artists can become preoccupied by the “We’ve found that these people need resilience to keep dusting themselves and social value of their enterprise, with looking for mentors and coaches creative vision and lack the confidence Multi-award-winning social enterprise different kinds of support to catalyse off and knocking on doors.” most businesses nurturing a direct social to share their expertise with the to pursue the commercial skills that are Cause4 has proved the perfect partner the ideas and make them happen,” mission. In this way, they are part of a entrepreneurs. essential to thrive in the modern market.” with which to take the scheme to the says Kieron. “Guildhall has always “A key element of this is about giving generation that could radically transform next level. Thanks to an innovative and championed artistic work at the highest people the freedom to develop within the the common conception of the arts For more information, visit To market to market modern approach to fundraising, the levels, evolving the learning environment changing professional landscape,” adds – from the lofty vision of a creative elite gsmd.ac.uk/ Addressing this skills gap, the Guildhall organisation has raised more than £40m to help the student become the best artist Marina. “That in itself is a positive impact.” to an inclusive and joyful pursuit with creativeentrepreneurs Creative Entrepreneurs scheme is a for its clients since it was founded in 2009 and professional practitioner they can be. From there, the challenge is for the its feet set firmly on the ground.

18 19 Meet the Entrepreneurs close to both our hearts: that of gender inequality. We wanted Turn of Phrase to make people aware of their subconscious gender bias, and group Afro Reggae on a secondary school samba project. After provide tools that could be applied in working life. Drum Works Communications training company Turn of Phrase teaches people Afro Reggae left we found ourselves with a pile of samba the skills, freedom and power of public speaking, while addressing While we cared deeply about our work, we lacked a formal drums and a group of teenagers and we had to decide what to Drum Works is a music project based in east London that uses issues of gender equality in communications. The brains behind business background, and Creative Entrepreneurs was the do next. We asked the young people what they wanted to do drumming as a tool to inspire and empower people. Originally the business are actors Francesca Wilding and Timothy Allsop. perfect opportunity to develop the skills we needed. It really and the group started creating new work together, inspired put us through our paces, with a useful and well-structured a project manager for Barbican Guildhall Creative Learning, Say Fran and Tim: by the music they listen to. This approach was incredibly programme covering accountancy, business planning, Jenny Beer is now in the process of launching Drum Works as “We want speaking to be as highly valued as reading and writing. successful: from 20 kids in 2007, we now reach more than fundraising and pitching. We found ourselves surrounded by an independent Community Interest Company. As professional actors we understand the skills it takes to stand 400 young people across six secondary schools. enterprising people, and it was an invaluable learning experience. up in front of an audience, and to communicate your point in It helped us to realise that arts and business aren’t mutually The project just kept on growing, and Creative Entrepreneurs a way that’s confident and engaging. A few years ago we began exclusive – as an artist, business skills can enable you to take was the perfect opportunity to move forward. Business collaborating on a series of workshops designed to teach that control of your life.” planning was new to me, so the guidance I had through the skill to professionals in the corporate sector and schools across course was invaluable. We spent a lot of time thinking about the UK. At the same time, we were aiming to address an issue turnofphrase.co.uk what elements of the original project we wanted to hold on to and what we should change. The challenge was finding a business model that would enable us to be self-sustaining horizon, including the recording of our first CD. We recently while preserving our ethos and achieving our social and Docklands Sinfonia staged a concert for 1,600 kids in Tower Hamlets, many of artistic objectives. whom had never experienced a live orchestral performance. A young and pioneering orchestra, Docklands Sinfonia stages This was their local orchestra performing in their local concert We decided to establish as a Community Interest Company, groundbreaking concerts in London’s Docklands. The business hall, and it was brilliant to see the kids really engage with it.” and we subsidise our non-profit-making activities with is led by Spencer Down, Professor of Euphonium and head of commercial services such as corporate training workshops the brass department at Junior Guildhall. docklandssinfonia.co.uk and paid performances. This protects our core programme and enables us to keep doing the work we want to be focusing Says Spencer: on. Some of our original participants, now in their early 20s, “Docklands Sinfonia was inspired by my grandfather: he worked as a shipwright in the docks, and played the trumpet have gone on to study music – two of them at Guildhall – and and saxophone in the local working men’s clubs. It was my it’s amazing to think that Drum Works ignited that interest Says Jenny: grandfather who first introduced me to music, and I lived in for them and helped them on that journey.” “Drum Works started out in 2007, when the Barbican invited the Docklands most of my life, so it was the perfect place to set two London-based musicians to collaborate with Brazilian drumworks.co.uk up a pioneering new orchestra with the mission of bringing high-quality music to new audiences. Creative Entrepreneurs forced me to go right back to the Song in the City I realised that you don’t have to compromise your art to make beginning and ask ‘Why?’ It helped us clarify what we want money, just refine it. to do, so that when we meet someone we can quickly tell them Song in the City takes classical music out of its comfort zone, I’ve changed a lot because of Guildhall and Creative who we are, and they get it. That ability to tell our story has staging concerts and social projects that aim to revolutionise the Entrepreneurs. I initially wanted to study piano accompaniment had an incredible impact: since starting Creative Entrepreneurs relationship between classical musicians and their audiences. because I love music, but I’ve come to realise that the world it our donations have increased ten-fold year-on-year. Former Guildhall student Gavin Roberts has nurtured the idea inhabits can be stuffy and intimidating. That should never be Creative Entrepreneurs has injected fresh energy into our from social project to flourishing charity. the case – we grow up singing songs and I hope Song in the business, and we have a number of exciting projects on the City captures the joy in that.” Says Gavin: “I started Song in the City while I was a student at Guildhall. songinthecity.org I wanted to bring together different singers around Lyribox business training I had was from books, and the programme challenging and unusual themes, and experiment with the brought quality control to my business activities. It was particularly useful in writing my business plan and pitching space, the actors and audience interaction. The Creative Lyribox helps people to sing classical music by providing them to investors. Entrepreneurs programme shook the idea up, asking: What with digital learning tools. Launched by Guildhall vocal student is all this for? The need to ‘sell’ the idea profoundly shaped Vincent Bruggeman, Lyribox won the ‘Music Award’ of the The main focus of the investment in Lyribox has been to grow us as a business. 2015 Deutsche Bank Awards for Creative Enterprise. the catalogue so that whatever repertoire people want to learn, we have it. We also launched a paid service in September Today we operate as a charity, covering our costs through the Says Vincent: 2015 offering both individual and institutional subscription generosity of our donors. This enables us to focus on our social “In November 2012, I began looking for resources to help me models, and our longer-term focus will be on developing those programme, staging free lunchtime concerts to broaden learn a Russian song by Alexander Porfiryevich Borodin. From revenue streams to fund further growth. participation and running work in the community, such as this came the question: If I were a singer at a small institution our recent project Creative Madness through Song, with the without a specialist in Russian repertoire, where would I turn One of the great advantages of Lyribox is that the content is Maudsley Mental Health Charity. for help? The concept of Lyribox was born. timeless and international, so it has a massive reach. It’s still difficult and expensive to access good quality translations The Creative Entrepreneurs programme helped us to develop Creative Entrepreneurs is the only incubator for the arts in and accompaniments in classical music, and Lyribox aims to a business strategy that protected our core values, and package London, and I was attracted to the programme because I felt fundamentally change how people access learning.” up the strands of accessibility, social mission and professional it would give me the credibility I needed to secure investment. development into an attractive sponsorship opportunity. Although I’m passionate about entrepreneurship, the only lyribox.com

20 21 Doctor in the House Philip Venables, the first Doctoral Composer-in-Residence under Guildhall and Royal Opera House’s innovative collaboration, reflects on the experience

n 24 May, an ambitious new operatic work makes its and rehearsal sessions with Guildhall students across both world debut at the Royal Opera House: the haunting, music and drama… I’m astounded at how huge an enterprise poetic and lyrical elements of Sarah Kane’s 4.48 Psychosis all this is and how utterly focused everyone is on producing reimagined in music. For composer Philip Venables the the most fantastic work. I spent a week at Guildhall in January opera is the culmination of three years of painstaking doing a full read-through with a band and cast of Guildhall Oplanning, research and writing, a project he readily admits students and it was an invaluable opportunity to have those is “the most exciting and challenging and high profile I have resources and that range of talent at my disposal. It’s both ever taken on.” flattering and daunting to see so many people come together to work on my project.” Philip is the first participant in Guildhall and Royal Opera House’s unique Composer-in-Residence programme, The right fit which provides an intensive three-year studentship leading The project in question did not have an easy genesis, and Philip to a doctoral degree. One of the first examples of an opera credits the residency with giving him the freedom to find the company and a conservatoire joining forces, the studentship right fit. “I initially wanted to work with a completely new text, offers an enriching model of opera development, allowing and Julian, John and I spent a whole year building relationships the composer substantial research experience, critical with writers, which was a rewarding experience in itself,” says reflection and creative research, in both professional and Philip. “However, I decided to turn to an adaptation instead. At academic contexts. The residency, which started in September no point did anyone try to change my creative direction or talk 2013, culminates in the performance of a major new me around – in fact I recall John saying right at the beginning operatic work. ‘Whatever it is you want, ask for it, and we’ll try to make it happen.’ It’s to the credit of Guildhall and ROH that they were “The programme in itself is amazing – there’s nothing like it willing to be so open minded.” anywhere else,” says Philip. “As the programme’s first ever Composer-in-Residence, both Guildhall and the ROH have Once Philip had settled on an adaptation for his final year been incredibly open and generous in working with me to feel production, the pieces started to fall into place. Known for his our way through how this might go. As a result my experience dark and visceral approach, Philip was drawn to the works of has felt very tailor-made and individualised. the late playwright Sarah Kane, and the lyrical quality of 4.48 Pyschosis proved particularly compelling. “I’ve spent a great deal of time with the programme supervisor Dr Julian Philips, Guildhall’s Head of Composition, and John “I love the formalised, avant-garde nature of Kane’s writing,” Fulljames, Associate Director of Opera at ROH. The support he reflects. “I have a long-standing interest in the spoken word has included one-to-one development sessions, building and in representations of violence in the arts, so this perfectly relationships with writers and performers, running workshops fit my aesthetic.”

22 23 Introducing 2015 Composer-in-Residence Na’ama Zisser

As Philip Venables oversees preparations for the debut of 4.48 Psychosis, he will be joined by the second Composer- in-Residence Na’ama Zisser, who entered the studentship programme in September 2015. The rehearsals provide a glimpse into the future for Na’ama, as she begins her journey towards the creation of her own original operatic work. “I’m extremely excited about this unusual opportunity to focus on what I’m interested in within opera and modern storytelling, creating a work that is very personal to me,” said Na’ama at the time of her appointment. “It’s quite rare to have the time to reflect and research, work at my own pace, and have mentorship, support and resources. This will have an enormous impact on my own creative development and the work produced. I’m very much looking On with the show forward to building meaningful collaborations and to 4.48 Psychosis chronicles Kane’s struggles with depression, and exploring ideas to their full potential.” the accompanying world of medical treatment, therapy and Having completed compulsory military service as a drugs. The title refers to the hour when Kane would wake pianist in her native Israel’s Air Force Orchestra, Na’ama haunted by desperate thoughts, and the play resonates with began her compositional studies at the Jerusalem Academy disjointed voices and thoughts. Tragically, the play came to of Music and Dance, before landing prestigious commissions with leading Israeli orchestras. Na’ama continued her represent the author’s suicide note, with Kane taking her own life studies with a BMus in Composition at Guildhall School a few days after it was complete. It’s a dark and unconventional and recently graduated with Distinction from the Royal play to adapt for opera, but Philip maintains a clear vision of College of Music with an MA in Composition. During her its musicality. time at the Royal College, she studied under Mark-Anthony “I knew I wanted to set a play to music but I didn’t want to Turnage and was awarded the Hurlstone & Cobbet RCM take conventional dialogue and turn it into song,” he says. special prize for outstanding achievement. “4.48 Psychosis is more like a poem than a play, with its use of Na’ama’s work centres around collaborations, with a stream of consciousness and its polyphony of inner voices. It’s particular focus on contemporary dance, opera, installations, incredibly lucid. It’s also very flexible. The play itself doesn’t theatre and instrumental music. Her work has been presented specify the setting or the number of characters – you could at well-known venues in the UK including Aldeburgh Music have anything from one to 60. The original production had Festival, National Portrait Gallery, Sadler’s Wells, Kings Place a cast of three, and we’re using six female singers to capture and the Linbury Studio Theatre at the Royal Opera House. the polyphonic atmosphere. Recent projects include a work for members of the London Symphony Orchestra with live karaoke as part of “The biggest challenge is that there’s so much text for opera the LSO Soundhub residency, Sound & Music New Voices libretto – we have to make time and space for the music Composer, a Sound & Music Portfolio Residency, and around all that. The tableaux combines a great variety of styles, a commission for the London Sinfonietta/Kings Place from dark and raucous band music to colourful rhythmic Minimalism Unwrapped series which will be performed in sounds and heartfelt arias. Contrary to expectations, the play Tel-Aviv later this year. itself is actually quite jolly in places. There’s lots of black humour, lots of reflections on the absurdity and banality of everyday life. Yes, it’s about depression and death but it’s also about the protagonist’s search for a deep, intense love.” Philip’s opera will run at the Lyric Hammersmith from 24–28 May, but while this represents the culmination of the residency “both Guildhall and the programme, it certainly doesn’t feel like the end. “The nature of opera and of this residency is that you gear up towards one big production, but after that there’s the write-up to do and all the professional reflection that comes with the end of a three-year programme of study and creation,” he says. “I’m ROH have been incredibly intensely excited about the show but this has also been a huge learning process for me into how opera gets made. It’s been an eye-opening experience and one that will stay with me for the rest of my career.” open and generous” gsmd.ac.uk/ROHcomposer 24 25 THE INTERVIEW

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

26 Your career is quite unique in blending I didn’t want to be naïve about my chances, so I wrote to the than it really was. I never pressed it or pushed it; I simply I decided to quit. I looked in the mirror and told myself ‘No Royal Opera House, Covent Garden asking if I could audition sang with my own voice. I was also lucky to have, if I may say bitterness’. Two years later I started my agency, Athole Still sports and opera, both as a performer for them, more for advice not for a job! I guess they knew of so, an exceptional ear with virtual perfect pitch, so I learned International Opera. and an agent. How did this unusual me as a swimmer and were curious enough to agree to see me! very quickly. I can honestly say that I never once failed to mix come about? I sang the flower song fromCarmen and they told me I had a succeed at an audition in those days. I might not have always Did that experience affect your fine, natural tenor voice, but if I was serious I would need to been offered the biggest roles, but I always left with something. approach to managing talent? Many people comment on the fact that I’m both an opera agent move to London and go to a proper school. I took classes in I was brimming with confidence, and I think that was the and a football agent, but actually the way it happened seemed so basic musical training and composition at Guildhall and Morley secret to my early success. In fact I think it’s one of the most College Opera Studio, which was very valuable because I had important qualities of any successful singer: confidence will Absolutely, I always want my singers to learn from my experience, logical and natural. Sports came first. I was raised in Aberdeen, and I won’t represent someone who wants to pursue a repertoire the only child of two wonderful parents. As a working-class a lot to learn. From that point on I was absolutely obsessed with fill in the cracks. The audience can feel it, and they respond singing and opera, to the exclusion of everything else. The to it. Unfortunately I became over-obsessed with reaching the that’s vocally wrong for them or potentially dangerous to their boy my childhood obsession was football, and I played in the voice. Sadly it does happen too often in the opera business. street from the age of six until about 10. However my mother strange thing was that I was able to support myself through my top quickly and that effectively ended my career. also instilled in me a love of music – I’m sure she must have media jobs, as a swimming correspondent for The Sunday Times and The Times, so all the time I was focused on singing, to The number one thing I try to get across is the importance of sung to me in the womb, because I had such an affinity for it. knowing what your voice is appropriate for. Never go outside We lived in a little two-room tenement with an outside toilet, the rest of the world I was a swimmer and sports commentator. It was a confusing dichotomy. your natural repertoire, that’s one of the big secrets of this yet my mother bought an upright piano and taught herself – business. To use a sporting metaphor, you could be the number and me – to play. Back then, singing was just a fun interest for one middleweight boxer in the world, but an ordinary me, and I never thought of doing it professionally. I won an For many aspiring singers, the major heavyweight will kill you if he’s lucky enough to land one blow. open scholarship to Aberdeen’s Robert Gordon College, a challenge is breaking into what is a It’s particularly important for male tenors, especially in prestigious institution, which played rugby not football, but very competitive industry. How did you mastering the passaggio, or voice break. Look at Pavarotti: people they had a swimming pool and a very good coach, so I became think he was born with that voice. No, he was born with a good a swimmer. By the age of 14 I was swimming for Scotland, get your break? voice and his teacher taught him to get the passaggio right. and I swam for Britain at 16. For the next 10 years swimming That’s why he never sang a ‘wild’ note, except perhaps for effect. was the main thing in my life, although I somehow managed I auditioned for Scottish Opera at the Savoy Theatre, for the to fit in an MA in Modern Languages from the University late, great Peter Hemmings. He said he had nothing for me of Aberdeen. immediately but he liked me, and would try to find something In that sense you believe that a good for me. A few days later I was offered the role of cover for The teacher, and the right advice, is as So when did you first consider singing Simpleton in Boris Godunov. It was to be a baptism of fire. important as natural ability? as a potential career? After a month or so, my wife got a call on a Saturday afternoon asking me to perform that evening, in Aberdeen, as the first Yes, it’s crucial to find the right teacher. They should always cast singer, Duncan Robertson, had taken ill. Unfortunately I enjoyed a hectic, varied career after graduation. I had my own give the impression that they want to care for your voice. They I was already on my way to Coventry, where Great Britain sports roundup programme on Grampian TV and was a regular must try to instil in you the importance of looking after your was swimming against Canada. I was covering the event for sports commentator for the BBC, and at the same time I was instrument. A great teacher will bring out the best in you and The Times. Of course this was in the days before mobile phones, a partner in my father’s betting shop and to this day I still love give you the confidence that’s needed to perform to the best of so the only way Isobel could reach me was to leave a message horse racing. So there was lots of interesting stuff happening your ability. Look at football managers and how often they with the pool in Coventry. for me but I still loved singing, so I decided to have my voice get sacked – look at Chelsea. Did Mourinho suddenly become a trained, just for fun. After about a year of lessons I realised bad manager and the team suddenly become bad players? Of I picked up the message and flew into a panic. I asked another that singing, and particularly opera, was what I wanted to do. course not. The connection was lost; the connection that gives reporter to write and submit my article for me (a fact the I still clearly remember the moment I decided: I was driving performers confidence in their abilities and in turn the belief paper does not know to this day!) and raced for the next flight home from golf on a Sunday and the duet from Madame that they can excel. On the other hand, the right manager/ from Heathrow to Aberdeen, which I missed by five minutes. Butterfly came on the radio. I was so moved I had to stop the coach/teacher can find a team with young talents, no stars, My only option was the next flight to Edinburgh, but I then Athole as Macduff in Macbeth, car; it just hit me. Glyndebourne Touring Opera, 1973 and they will achieve things that on paper seem impossible. would have no way to get to Aberdeen in time. By happy They’ve been transformed into professional performers, but chance I trained as a pilot with the Aberdeen University Air it cannot happen overnight. Squadron, so I rang the Edinburgh Air Squadron and relayed How so? the whole story to them. Incredibly, they arranged for a Squadron Instructor to fly Isobel and I to Aberdeen. I arrived Of course, for young students keen to I won a Major Award in Music of the City of London, which at the theatre in Aberdeen with a police escort, had three enabled me to embark on a year-long period of study in Naples. make their way, that’s a difficult lesson minutes at the piano, was sewn into my oversized costume, I worked with a wonderful repetiteur/teacher virtually every for teachers to impart. and suddenly found myself on stage. That was my major day for 10 months. However, I sang too much and pushed too company professional debut! hard. I was young and fit so I got away with it for a few months, Absolutely. What you’re dealing with here at Guildhall and at and I could hear the improvement, but then my voice started conservatoires around the world, is two delicate little vocal That’s an astonishing story, and of to deteriorate. My coach was used to the big Italian voices, but folds in an eager 21-year old or younger! Unfortunately there course it was the first of more than 20 if you don’t have natural maturity in your voice, you have to are too few people in the teaching and casting professions who be very careful. I was so enthusiastic and eager that I tried to really understand the need to protect the voice, and advise on leading principal tenor roles. What do do five years development in 12 months. Young voices are too the best repertoire for that voice. If I could offer one piece of you think casting agents saw in you? delicate to cope with that. After one year in Italy, I had messed advice to young singers entering the profession now, it would up my voice. Even more crucially, I had also lost my confidence. be to work hard, but in a controlled way. Don’t be too obsessed, They certainly weren’t seeing an exceptional voice, I’ll be I went out there brimming with confidence and came back as I was. Be patient with your voice and allow it the time to frank about that. I had a very nice voice, an easy voice, with almost frightened to sing. After a year of torture, singing badly build up experience. Be “cool”, enjoy yourself, and look forward Athole with American tenor Bruce Ford a dark middle which gave the impression that it was heavier through many previously booked professional engagements, to improving tomorrow and every day thereafter.

28 29 sometimes viewed as a lesser art, but you can sit around and hope the muse there was no sense of that at Guildhall visits you – composer’s block is not an – good music was good music. option. You have to be very disciplined and get something out, then fine-tune On the right path it until you’re happy. I start work early, My three years at Guildhall were among often sitting down at my piano at 6.30am. the best of my life. I went in as a naïve I really enjoy that quiet, peaceful time, THEN & young composer who could string when I can focus on the music and not together a tune, and came out with the worry about the phone ringing. By 11am skills to write for an orchestra. I also met I’ve often done the equivalent of a full my husband Tony there – he was a day’s work, and I can have the afternoon student on the Acting course – so that to myself. was another highlight! I loved everything about the experience; the people, the Over the years I’ve been fortunate to NOW atmosphere, the spirit, but most of all have worked on a fantastically diverse Fresh from her successful concert the way it set me on the right path for range of productions. Wilde with Stephen ‘The Film & TV Music of Debbie my career. Fry will always be one of my highlights as it opened so many doors for me, as did Wiseman MBE’ at Guildhall, the Writing for TV and film is an art in Warriors with Peter Kosminsky. More renowned composer takes time itself: working alongside a director you recently (and in my sixth collaboration out to share her memories and must be able to embrace a collaborative with Kosminsky) Wolf Hall was an environment, and that’s a whole different incredible experience. There was such professional advice with PLAY skillset to composing in relative isolation. an immense love for the book that You have a whole team of people to people couldn’t wait for the TV series to his January, I had the thrilling comment on your work and keep happy, come out, and it built up a wonderful experience of returning to Guildhall so you have to be prepared to set your momentum. When we released the to conduct a concert of my own film ego aside and to listen, and get along soundtrack it went to number one in the and TV music. With a selection of with people. I learned many of those classical charts. People responded to it my scores rearranged as concert skills working in the professional really well. suites,T it was an incredibly demanding environment at Guildhall and they’ve production, and I was aiming for a served me well. I have a couple of live Wolf Hall concerts filmic and glamorous sound, so the coming up soon, which I’m really performers had quite a challenge on After graduation I had two fun-filled excited about. So much of my work is their hands. I can honestly say they were years playing in a function band with studio-based so I love seeing the audience just stunning, and the end result was my husband while I knocked on doors reaction during live performance. That even better than I could have imagined. and started to make my work known. was one of the nicest things about And of course, walking back through I didn’t have many contacts so I was returning for my concert at Guildhall. the Guildhall building brought back so starting with a blank page, but slowly I was also reminded of just how high many memories. I started to build up credits in TV and the standard is, not only in terms of film. I got my break when a production the instrumental skills but also the I was one of the first Guildhall students company I had worked for became very professionalism. As we were going to do a joint principal study, in Piano successful, and took me with them along through rehearsals I was looking at all those young musicians and remembering and Composition, starting in 1981. The the way. They were making a show for Channel 4 and my showreel – featuring how wonderful it was to be sitting there, two subjects for me went very much a recording I did with Dave Foister at right at the beginning of your career. hand in hand – the skills you acquire as Guildhall – hit the right desk at the At that age there shouldn’t be anything a performer feed into your craft as a right moment. They were looking for to fear, so I’d tell those students to play composer, and you have a natural instinct something choral and I’d written a choir with the utmost confidence. Those years for what will work and what will be piece, so they decided to take a chance are just magical and you don’t want to enjoyable to perform. My composition on me. miss one moment. teacher, Buxton Orr, liked his students to be able to play a scale on every instrument Work ethic in the orchestra as he felt it taught you Luck and good timing go a long way in to write sensitively; and that idea has this industry. However it’s also important stuck with me throughout my career. to have a passion for what you do, to understand drama and the role of music I always felt that Guildhall was ahead of in it, and to deliver what’s expected of its time. I set out knowing that I wanted you on time. I have a strong work ethic to work in media, because my passion and actually thrive on the adrenaline was bringing music to life, and it was rush of having a deadline. Again, I think unique to have drama and music together of Buxton, who used to say that if you in this wonderful, friendly, inclusive write every day you never run out of Debbie Wiseman rehearsing with the Guildhall Wolf Hall, BBC, 2015 Chamber Orchestra, January 2016 environment. Sadly, film music is ideas. Media isn’t an environment where

30 31 walk-in structure of colour and light, Originally inspired by a desire to provide Arts. Dame Eileen was presented with Alexander was commissioned to create an environment where players of widely the prize at the UK Theatre Awards 2015 MUSIC a cross-media performance that filled differing abilities could share their love at the City’s Guildhall last October. the entire structure and brought to life of music and the flute, the course has the many journeys that could be taken become internationally recognised as Catriona Carter (TTA 2014) through it. inclusive, stimulating and a very special Cat Carter is now Lighting Designer at Mariko Brown (Piano/Composition experience for flute players of all ages, Imagination Ltd, where she joins fellow 2000) and Leo Patsalides (Junior Alexander has also been appointed all abilities, and all nationalities. alumnus James Shirley. Guildhall 1999) Composer-in-Residence with London Pianists Mariko Brown and Leo Patsalides chamber choir The Cantus Ensemble. “The eagerness of people to respond to studied at Junior Guildhall at the same new ideas, develop their skills, or make Sarah Elizabeth Harrison (TTA 2012) time just over 20 years ago. Yet they never some small but vital change is key to the Sarah has launched her own business, Ariadna Castellanos Pliego met, never heard each other play, and success of our course. A trust fund is lovelidesignco, selling bespoke handmade (Piano 2005) have never worked together. Until now. in place to give financial help to young leather bags. lovelidesign.co.uk Latin Grammy-nominated pianist talented players.” Ariadna Castellanos was singled out in They recently crossed paths at the 2013 Vanity Fair’s piece, Jazz on the Loose, Kate John (SMTT 2001) Memorial concert for the late and much which featured a group of musicians Chris Wells (Percussion 1990) Having spent the last three years missed conductor Frederick Applewhite. described as “The Jazz Youth-Quake”. Chris has recently had the privilege of teaching in the Guildhall School’s Stage In 1992, as a result of winning the Lutine working with American drumming Management department, Kate has Prize, Mariko made concerto appearances legend Harvey Mason, co-writing a now left to take up her new post as Scenic with Mr Applewhite and the Junior Stella Jean Compton Dickinson track and appearing as a guest vocalist Workshop Project Coordinator at the Guildhall Symphony Orchestra. Just a few (Music Therapy 1995) Nicholas Jenkins on the latest album from jazz super- National Theatre. years later, Leo became a conducting Stella Compton Dickinson was awarded (Early Music Voice 2005) group Fourplay, Silver, celebrating the protégé of Mr Applewhite. the Doctor of Philosophy in October 2015 Nick’s current engagements include band’s 25th anniversary. He has also in a ceremony at the Cambridge Corn Jonathan Lyle (SMTT 2008)

Class Notes conducting Offenbach’s Mesdames de la been collaborating on new material In the years in between, Mariko has Exchange, for her ten year NHS based Jon Lyle won the Award for Outstanding Halle for Opéra de Lyon, and Chorus with Grammy-winning Brazilian artist become a highly respected pianist and research in music therapy: A Feasibility Achievement in Media Server Master for Rameau’s Platée at Paris Opera. and songwriter Ivan Lins, in addition teacher. As a composer her piece for Trial of Group Cognitive Analytic Music Programming at the 2015 Technical He recently conducted Mozart’s Idomeneo to playing drums for his European the duo, Travels Through a Mist of Therapy in Secure Hospital Settings. Theatre Awards. for Blackheath Halls Opera, and was performances. Chris recently released Chinese Mountains, has been performed Assistant Conductor to Sir Simon Rattle his 4th solo album 3 BEAT featuring to great acclaim. Stella’s project was the first randomised and the Berlin Philharmonic Orchestra Memphis keyboard virtuoso Charlie controlled manualised Music Therapy for Richard Strauss Der Rosenkavalier at Wood, and continues to write music for Leo closed the lid on his piano for the Patient Preference Trial to be implemented Baden-Baden Easter Festival. television, published through his own IN BRIEF final time in 2004, became a professional in a national high security hospital. Sound Designs Music and Atabaque conductor and founded the Amati The results demonstrated statistically Music catalogues. Orchestra, which is today one of the significant improvement in favour of Prach Boondiskulchok (Piano 2010) country’s finest amateur orchestras. the treatment arm in how patients and Vladimir Waltham (Cello 2012) Fergal O’Mahony Keyboard Prize “I will always be very grateful for my related to others, with improvements Prach and Vladimir are two of the Linos Hannah Watson is the first student to be time at Guildhall, for the opportunities All three joined forces in a performance in relating sustained at follow-up. Piano Trio, who won first prize in awarded the prize in memory of talented that it gave me and the manner in which of the Grieg Piano Concerto in March A higher percentage of treatment the Piano Trio section of the Melbourne pianist and alumnus Fergal O’Mahony it expanded my musical outlook”. 2016, a short tube ride away from the participants moved to conditions of International Chamber Music who died suddenly in September 2014. Guildhall, where it all began 20 years ago. lower security over a shorter period Competition 2015 . of time than those in control. New Year’s Honours Bryn Terfel (Opera 1989) Congratulations to former Director of Alexandra Dariescu Bryn Terfel was presented with Freedom Music, Leslie East, and alumna Professor (Piano Fellow 2011) of the City last November, to coincide Helen Odell-Miller, who were made Alexandra has been named Special with his 50th birthday. The private OBE in the 2016 New Year’s Honours Ambassador to Romania. ceremony was followed by a dinner in list, and alumna Alina Ibragimova who Bryn’s honour, with music performed was awarded MBE. “This is a tremendous honour and I will do by current Guildhall School students my best to live up to the trust that has been Francesca Chiejina, Milan Siljanov and War and Peace invested in me. I’m quite pleased to have Dylan Perez. Those of you who tuned in to the BBC’s been issued with a diplomatic passport also, luxurious new adaptation of the Tolstoy which will make my travels a lot easier!” Elsewhere, Bryn’s 50th birthday was classic may well have recognised a celebrated with major concerts at the number of Guildhall actors, including Royal Albert Hall in London and the Sameeta Gahir (Flute 2013) Lily James as Natasha Rostova, Kate Wales Millennium Centre. DRAMA Alexander Campkin Sameeta Gahir has been appointed Philips as Lise Bolkonskaya, Olivia Ross

(Junior Guildhall 2001) principal piccolo of Royal Liverpool as Mademoiselle Bourienne, Chloe Pirrie Alexander Campkin’s composition Philharmonic Orchestra, where she Janet Way (Flute 1966) as Julie Karegina and Ben Lloyd-Hughes Imagined Cities was the finale of the joins fellow alumni Cormac Henry and Janet Way founded and continues to run Eileen Atkins (Speech & Drama 1953) as Tsar Alexander. Do you know of 2015 Colourscape Music Festival on Fiona Fulton (née Paterson) to form the Oxford Flute Summer School, which Eileen Atkins received the 2015 Gielgud any more Guildhall alumni involved? Clapham Common. In the world’s largest an all-Guildhall flute section. celebrates its 30th anniversary this year. Award for Excellence in the Dramatic Please let us know if you do!

32 33 Recent Releases CDs In Memoriam

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

We are deeply saddened to learn of the death of Sir George Martin, celebrated record producer and a dear friend and Virtuosi of the Baroque alumnus of the Guildhall School. Victoria Baroque Players Known as ‘the Fifth Beatle’, Sir George featuring Andrew Clark was successfully producing classical, (Horn 1986) jazz and pop records and breaking new Marquis Classics ground with his spoken-word and comedy recordings long before Brian Epstein brought the Fab Four to Abbey Road studios in 1962. Speaking to Guildhall School News in 2011, Sir George recalled telling Epstein: “If you want to have the expense of bringing them down to London, I’ll give them an hour in the studio to see what they’re made of.” When he met the band, he fell in love with them. “It wasn’t anything to do with music. It was falling in love with four men who had charisma. And they were cheeky, they were funny, they were fun to be with.” Over the next eight years, he produced almost every record The Beatles made.

Music for Winds Before the Love Goes February 15 Imaginary Symphony Sir George studied Piano and Composition Janácek,ˇ Nielsen, Barber, Sam Mumford NAO and other tales at Guildhall from 1946 until 1948, with Hindemith, Ligeti (Leadership 2008) Nao (Jazz Voice 2010) Anthony Piccolo (Piano Oboe as his second instrument. “What I London Winds, including WW Records Little Tokyo Recordings Accompaniment 1983) liked about the Guildhall was that it wasn’t professors Philippa Davies, Navona Records just a music school. I found the drama Robin O’Neill and Peter Sparks content very attractive… that combination Sir George Martin speaking at Guildhall School, May 2008 Chandos of learning affected me. I’m sure it helped me eventually when I became a producer at Abbey Road… working with a lot of actors… Sean Gregory, Director of Creative with his wife, Lady Judy Martin, in 1977. I could approach them more confidently”, he Learning, recalls: “George was an In 1979 he set up AIR Studios there, told us in 2011. We were honoured to have extraordinary musician and human being attracting many big names to record. Sir George as a Patron of the fundraising to work with. His generous and collaborative Following the devastating hurricane of campaign for our new building, Milton spirit shone through. Coming from a 1989 and subsequent volcanic eruption Court, which opened in 2013. relatively humble background, he was in 1995, Sir George raised awareness very passionate about music education, and funds to rebuild the community In 2006, Sir George returned to the particularly for young people who may and its cultural activities. In partnership Guildhall School to give a talk about his not have access to regular high-quality with the Guildhall School, an annual remarkable career. Following this, music-making opportunities. Above all, placement was created for Guildhall students, alumni and staff were inspired George loved people. There were no airs graduates to facilitate music projects to create an unprecedented event in his and graces to him and I witnessed him on the island and inspire young people honour. Tomorrow Never Knows took having many conversations with people to engage with music-making. The place in 2008 in the Silk Street Music Hall from all walks of life. It’s no wonder that placement has been running successfully Mendelssohn in King Charles III Shakespeare Sonnets Schumann: and Theatre. The event saw Guildhall he facilitated such extraordinary musical for five years, with MMus Leadership Birmingham Original Soundtrack Mario Castelnuovo-Tedesco Davidsbundlertanze artists revisit and reinterpret some of the and artistic results from artists.” graduate Cris van Beuren currently Jennifer Pike (Violin 2009) By Jocelyn Pook (Viola 1982), Ashley Riches (Opera 2012) Cordelia Williams highlights of Sir George’s career in music, in post. with CBSO featuring Belinda Sykes (Early and Emma Abbate (Opera (Piano 2013) as well as spoken word and comedy. Sir In 2011, Sir George approached us with Chandos Music 1989) and Richard Studies Coach) SOMM Recordings George said: “It was amazing, absolutely the idea of setting up an annual music This is just one example of how Sir Goulding (Acting 2007) Resonus Classics amazing, because they had done things placement for Guildhall graduates on George’s remarkable legacy continues Pook Music which were quite outrageous. But they were Montserrat in the Caribbean, an island to revolutionise music-making around fantastic too.” he had been close to since he first visited the world.

34 35 of that time were her interpretations productions she was cast with John but ultimately opted for a career in difficult compositions whilst he bashed of Music & Drama during the 1970s Christine Jackson of La Cenerentola, Rosina (The Barber Wayne, first inRio Grande then The botany instead of music. the sequence out in his idiosyncratic way and 1980s. Many of his students were 1962 – 2016 of Seville), Isolier (Le comte Ory) and Quiet Man. Throughout the 50s and 60s at the piano. medal winners and had successful careers. (Cello 1983) Isabella (L’italiana in Algeri). Maureen became known as Queen of Laura joined London’s Kew Gardens in the Swashbucklers for her spirited roles. 1965 and spent three decades there as a Don wasn’t the most structured of tutors He himself had a long and varied career, Christine Jackson, the experienced Many international debuts followed: guide, lecturer and education officer. In at times, but you always came away singing many seasons at Glyndebourne British cellist, has died at the age of 53 Covent Garden in 1967 as Zerlina Don Maureen spent much of her later life 1990 Laura published Marianne North from a lesson feeling very inspired. The travelling with Benjamin Britten and following complications from a brain Giovanni; Washington DC in 1969; on the Caribbean island of St Croix, and at Kew Gardens, considered a definitive anecdotes were always amusing, usually Peter Pears to music festivals in Bavaria, aneurysm in 2009. Scottish Opera in 1969 in Rossini’s La in 1993 was honoured by the British book on the Victorian artist and botanist. ending with ‘…and the funny thing singing in many broadcasts on the BBC Cenerentola; and the Canadian Opera Film Institute for her contribution to She travelled the world in the footsteps was Martin, it sounded better than ever.’ Light Programme such as Music Tapestry Christine trained at Guildhall before Company in 1973 in Rossini’s The ‘moving image culture’. She is survived of North, giving hundreds of lectures My favourite was the one at a gig where and having a wide repertoire including taking the role of principal cellist of Barber of Seville. by her daughter. while furthering her passion and his saxophone had fallen off its stand, lieder, oratorio, Scots song and a special the Royal Philharmonic Orchestra, the knowledge for plants. bending it almost beyond recognition. link with Thea Musgrave. Hallé, the Royal Liverpool Philharmonic Patricia joined the University of Toronto ‘The only thing I could do, man’, said and the Australian Chamber Orchestra. in 1980 as adjunct professor of voice, Laura died at the age of 80 and is Don, ‘was to try and bend it back into He had been suffering from Progressive and taught there for more than 20 Mollie Petrie survived by her nephews and nieces. shape using the back of a chair. And the Supranuclear Palsy for several years. Christine enjoyed a varied career both years. Patricia’s love of music stayed with 1921 – 2016 funny thing was Martin…’ He leaves my brother, David and me, as a soloist – working with Talarc and her throughout her life, as she once seven grandchildren and three great Jacqueline du Pré, among others – commented: “I love the theatre; I love Mollie Petrie was Head of Singing at Towards the end of one lesson he said: grandchildren. and as a chamber player, touring with the stage. It’s what I’ve known since I Junior Guildhall from 1984 to 2006. Don Rendell ‘Whenever you play, you always sound Ashkenazy and York Piano Trios. was five, so it’s in the blood.” She taught, by invitation, at the Banff 1926 – 2015 happy, and that’s not always a good Her ventures in pop music included Centre for the Arts, Canada, in the thing! It’s a good idea to explore other collaborations with everyone from winter of 1985. More recently, she was moods and expressions, man!’ Until NOTICES Dame Shirley Bassey to Kylie Minogue. invited to work regularly with members then, I’d never really considered it. It’s Maureen O’Hara of the Welsh National Opera in Cardiff. something that has stayed with me and Ronald Flanagan 1920 – 2015 She conducted classes in Ireland, the I often find myself passing that gem Christine emigrated to Australia to 1949 – 2015 (Speech & Drama 1936) United States, Belgium, France and New on to my own students. work with the Australian Chamber (Speech & Drama 1969) Orchestra, where she earned the nickname Zealand and lectured at the International Maureen O’Hara, who has died at the Congress of Voice Teachers, Helsinki, Thanks for everything, Don. the Barefoot Cellist. Initially settling in Gwyneth George age of 95, is perhaps best known as the in 2001. R.I.P. Sydney, she later moved to Queensland, 1920 – 2016 Hollywood actress who starred opposite where she encouraged local children to (Cello 1937) take up musical instruments and worked John Wayne in five of his films. Famed As a performer, Mollie sang for 40 for their on-screen chemistry, Wayne years in oratorio, recital and opera, with didgeridoo artist David Hudson. Raymond James once commented: “I prefer the company especially as a regular soloist with the Duncan Robertson 1923 – 2016 of men, except for Maureen O’Hara. BBC West of England singers in recital, By Martin Hathaway, Professor of Jazz 1924 – 2016 Former Drama television tutor She’s the greatest guy I ever met.” and as a founder member of the BBC

Patricia Kern^ West of England Singers. I first met Don Rendell at Monkey’s Jazz Dr Brian Trowell FGS 1927 – 2015 Born Maureen FitzSimons on 17 August Club, Brentwood in 1984 for my first 1931 – 2015 (Voice 1952) 1920 at Milltown near Dublin, Maureen She taught at Dartington College of Arts ever jazz workshop. I can remember Director of Opera, 1963 – 1967 had a large family who shared her for several years and helped to found that day as if it were yesterday. He was a

Talented mezzo-soprano and voice interest in show business – she once the Bristol Intimate Opera and a group, towering presence, and first impressions teacher Patricia Ann Kern has passed likened them to the Irish von Trapps. Hit for 6, for which she wrote a great were that he was rather intimidating, away in Toronto at the age of 88. Born After a number of roles in local amateur deal of comic material which led to but I was soon struck by his warmth, on 14 July 1927, the singer had an early productions, Maureen enrolled at her one-woman show, With a Frog in generous spirit, love of music and his introduction to music, becoming a Abbey Theatre school, where she was my Throat. enthusiasm for sharing that love. child star in cabarets and concerts at quickly cast in major Shakespearean the tender age of five. The daughter of roles. In 1936 she became the youngest Her private teaching practice catered for I must have played okay that day, because a master shipwright, Patricia was the student to complete Guildhall’s Drama many well-known professionals as well he remembered me at our next meeting family’s chief breadwinner when her course, and by 16 she had been awarded as amateurs of all ages. – the first Guildhall Summer School father lost his job in the Depression, a degree and an associateship by the in July 1985. That was the start of a and this experience was credited with London College of Music. continuing friendship, through the next instilling a strong sense of responsibility four Guildhall Summer Schools, and me and discipline. Maureen became an overnight star Laura Ponsonby starting as an undergrad in September in 1939 playing Mary in Hitchcock’s 1936 – 2016 1987 (Don had started teaching at senior After the war Patricia won a scholarship adaptation of Jamaica Inn. Later that (Piano 1957) Guildhall in 1984). to Guildhall, studying Voice from 1949 year she played Esmeralda in The to 1952 under Welsh tenor Gwynn Hunchback of Notre Dame, and by the Laura Ponsonby studied violin and You never quite knew what was going to Morag René writes: Parry Jones. She began her career with time of her 1941 appearance in How piano at Guildhall School. The great happen in a Don Rendell lesson. There Opera for All (1952–55) and went on to Green Was My Valley Maureen was granddaughter of the composer Sir could be ‘new’ fingering he’d discovered, My father, Duncan Robertson, died join Sadler’s Wells, where she performed becoming a firm favourite for wartime Hubert Parry, Laura spent much of her a discussion about which sounded the recently. as a member of the company for ten romance, historical drama and adventure life guiding academics around the best, or you would try to find your way seasons. Her most notable achievements films. After a short period of low-key family archive of his diaries and work, through one of his new fiendishly He taught singing at the Guildhall School

36 37 A DAY IN THE LIFE ’m lucky enough to have a job that combines the two things I love most in life: music and people. As Artistic Director Sara Lee of The Irene Taylor Trust, my job is about shaping and implementing the artistic vision of the organisation – from developing a programme of work in partnership with our Twenty-one years ago, musician office and creative team, to working out the relationships Iinvolved and trialling new and unusual artistic opportunities. and Guildhall alumna Sara Lee It’s a demanding and exciting role, and a typical day for me could range from writing new music with prisoners to flying was asked to establish the Irene to Europe to forge new creative partnerships. Taylor Trust, an organisation Generally speaking, I start my day early so that I can have the opportunity to talk to prison staff. After 9am prison life is dedicated to bringing the joys of in full swing so the best time for a phone call is between 8am and 8.45am, allowing us time to discuss new opportunities, music to vulnerable groups. As troubleshoot existing projects or simply exchange information. she tells PLAY, it’s a role that’s Our Music in Prisons programme is central to the Trust’s vision to create music and transform futures. The programme is flexible taken over her life in the best in format but generally involves a five-day workshop of possible way intensive creative music making, which supports a small group of prisoners through the process of forming a band, creating original music, and then professionally recording their own CD. Even today, 21 years in, I’m still amazed to witness the difference that music can make to the way people view their future. Unfortunately, this is the toughest time I have ever seen for the arts in criminal justice sector, so each day I dedicate a lot of time to reading about how any changes could affect us. The landscape can change at a moment’s notice. I’m on the steering group for the National Alliance for Arts in Criminal Justice, which meets regularly and filters our concerns through to the political system. It’s really important that I’m able to work with curve balls as and when they appear. The role is visionary but it must also be responsive: it’s not enough to have the ideas, you also have to make sure they work in context. We’re currently laying the groundwork to collaborate again with the Royal Philharmonic Orchestra, so I’m spending a lot of time honing the plan, getting buy-in from the prison system and sourcing funding. I also frequently travel to set up international projects, recently returning from a Churchill Travelling fellowship to the States and Norway, and I am heading back over the pond next month to work with the Chicago Symphony Orchestra for our fourth annual project. Whenever I present the work of the Trust I try to bring a previous participant, such as an ex-prisoner or young person from our Making Tracks programme, to perform or speak about their experiences. It’s great that so many people are happy to come back as ambassadors – after all, they’re what it’s all about. Making Tracks has been really successful in expanding the horizons of at-risk young people, and in the evenings I often go along to see the culmination of their project to write new music. Happily, a large part of my day is still spent on project delivery. When I set up the Trust, I was clear that I’m a musician, that’s what I want to do. I love the feeling of driving up to the prison and unloading a van full of instruments, ready to meet a new group of interesting people. Prisons are bleak places but music can bring so much joy. This is a very human job, and the stories you hear make it hard not to get emotionally attached. That’s exactly why I love it. It’s an organic and creative process – full of heart. There’s no such thing as a nine-to-five. Making Tracks

38 39 Forthcoming events

Wednesday 27 & Thursday 28 April Monday 30 May, 7.30pm Sunday 26 June, 7pm Milton Court Studio Theatre Wigmore Hall Barbican Hall Guildhall Jazz Guildhall Wigmore The Hogboon Showcase Recital Prize: Sir Simon Rattle conductor LSO Discovery Choirs Free student performances Winner’s Recital London Symphony Chorus throughout the day. Marina Koka piano Simon Halsey choral director Wednesday 27 April, 8pm Guildhall School musicians Beethoven Piano Sonata Op. 2, No. 3 Bobo Stenson & Martin Speake London Symphony Orchestra Brahms Klavierstücke, Op.118 Thursday 28 April, 8pm Mendelssohn Variations sérieuses, Op. 54 Sir Peter Maxwell Davies The Hogboon Anorak Chopin Nocturnes, Op. 27 Nos.1 & 2 (world premiere) Ballade No. 3, Op. 47 Berlioz Symphonie fantastique Ravel La Valse

Friday 6 May, 7pm Tuesday 28 June – Monday 4 July Barbican Hall Tuesday 31 May – Monday 6 June, 7pm Silk Street Theatre Silk Street Theatre The Gold Medal On the Twentieth Martinu:˚ Ariane and Antonina Suhanova piano Century ProkofievPiano Concerto No. 2 in Alexandre bis G minor, Op. 16 Book & lyrics by Betty Comden Timothy Redmond conductor & Adolph Green Oliver Wass harp Rodula Gaitanou director Music by Cy Coleman Ginastera Concerto for Harp, Op. 25 Scott MacIsaac piano Martin Connor director Rachmaninov Piano Concerto No. 2, Thursday 2 & Friday 3 June in C minor Op. 18 Milton Court Studio Theatre Guildhall Symphony Orchestra Technical Theatre Arts Adrian Leaper conductor Graduate Exhibition

The Guildhall School is For full information and booking, visit gsmd.ac.uk/events provided by the City of London To find out about priority booking for Guildhall Circle Corporation. members,40 visit gsmd.ac.uk/circle