Guildhall School news Spring/Summer 2009 and life after The Naked Violin

p4 Centre for Orchestra p6 Bring on the Hard Hats p10 Two Shakespearean Actors speak

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 1 .

Forthcoming Events .

Damn Yankees 30 June – 8 July Joe Boyd, a middle-aged fan of the ailing Washington Senators baseball team, sells his soul to the Devil for a chance to play for his favourite team. All goes well until the Devil comes to collect… Damn Yankees boasts a hilarious script and fabulous score, which includes ‘Goodbye Old Girl’, ‘You’ve Got to Have a Heart’, ‘Near to You’ and ‘Whatever Lola Wants’.

Tuesday 7 July is the Guildhall School Summer Gala. Tickets are £65, which includes drinks reception, two-course supper with wine, entry to the performance of Damn Yankees and a programme. All proceeds will go towards the Scholarships Fund.

The Marriage / La Cambiale di matrimonio (Martinů/Rossini) 3 June – 10 June Martinů’s one act opera was written in 1952 for NBC television. The libretto is based on the original play by Gogol and the music is humorous and witty, with many characterful ensembles. Rossini’s entertaining farce, dating from 1810, makes a fitting companion piece.

New Music Festival 29 June – 3 July This year’s festival features music by the School’s Composer-in-Residence Julian Anderson alongside new works by composition students, and two exciting collaborations with the City of Festival, whose theme this year focuses on seven international cities on or close to the 60˚N latitude.

Junior Guildhall Lutine Prize 11 July Junior Guildhall’s most prestigious award, The Lutine Prize, holds its final at the end of the school year with a showcase of young talent. Previous winners include Thomas Adès, Tom Poster and Annabel Thwaite, and the standard of this year’s competition promises to be as exceptional as ever.

Faculty Artist Series 29 October Martin Hathaway, saxophone 16 November Paul Archibald, trumpet 15 January Rinat Ibragimov, double bass

.

2 ForGUILDHALL further SCHOOL information NEWS • SPRING/SUMMER about 2009 any Guildhall School event, please go to www.gsmd.ac.uk Contents Editorial

18 Building Connections FEATURES Report from the Reflective Welcome to the Spring/Summer issue of Conservatoire Conference 4 Centre For Orchestra Guildhall School News. You may notice a NEWS few changes, both in style and content, 4 HEFCE Grant for which we hope will meet with your approval. Barbican Campus Creating the world’s leading We would love to know what you think, so centre for performance, please write to us at [email protected] training and education in the with any feedback. 6 Hard Hat Prom Bringing performing arts Milton Court to life! 7 Recent Prizes In this issue we outline the latest developments 8 Ten Cheers for 9 Cardiff Singer of Guildhall Opera The the World The chosen in and around the ‘Barbican Campus’, opera department’s latest Guildhall Singers offering – The King Goes enabling the School, the LSO and the Barbican Forth to France 17 Junior Guildhall to join forces to create the Centre for Big Bassoon Day Orchestra (pp 4-5); two recent productions 27 Obituaries Two Shakespearean Actors (pp 10-11) and The King Goes Forth to France (pp 8-9) ALUMNI PAGES are examined from very different angles; and 21 Beethoven’s 9th at the Professor Barry Ife interviews Tasmin Little 10 Two Shakespearean Anvil and the Barbican Actors An interview in the first of a new series of interviews with with the two lead actors 22 Over to You Stories from Guildhall Alumni outstanding alumni. 12 Connect – Full Circle The Schools outreach 23 Alumni Spotting programme profiled The Alumni Pages (pp 21-25) include our 24 Class Notes Alumni news Over To You Class Notes 14 Tasmin Little regular and sections interviewed by Professor 25 Alumni Weddings along with details of reunions and a new Barry Ife about her latest projects 26 Reunions Recent and feature ‘What can you tell us about…?’. Coming Up For those of you who would like to receive more frequent alumni news, we have also launched an Alumni Ezine which will be emailed at least once a term (to subscribe, contact [email protected]).

If you have anything you would like us to Editorial Group include in the Autumn/Winter issue, email your Rachel Dyson (Editor), Alumni Relations Manager news (and pictures) to us at editorial@gsmd. Deborah MacCallum, Director of Corporate & Student Services ac.uk by 1st July. Jo Hutchinson, Marketing & Communications Manager Duncan Barker, Head of Development Enjoy! Phylip Harries & Richard Grosse, Falconbury Ltd Rachel Dyson Editor Contact: [email protected]

The Guildhall School (Please note, we cannot of Music & Drama is guarantee to include everything provided by the City of that we receive and we reserve London Corporation the right to edit submissions.)

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 3 News for Orchestra: Campus A Major New he Guildhall School of Music & Drama has been awarded Initiative in T a major grant from the Higher Education Funding Council Orchestral for (HEFCE) Strategic Development Fund to support the Training creation of the ‘Barbican Campus’. The grant will enable the Guildhall School, the Barbican Arts Centre and Centre for Orchestra is the London Symphony Orchestra to a major new initiative create the world’s leading centre for performance, training and education in orchestral training, in the performing arts. education and early career support for Specifically, the grant has been awarded to ensure effective delivery of the Guildhall “I am delighted young professional School’s new performance and teaching that HEFCE has musicians – led jointly by facilities at Milton Court, development of a agreed to support ‘common platform’ of shared services and the Guildhall School and this programme joint programmes between the three campus the London Symphony partners and initial three-year support for and look forward the Centre for Orchestra. to realising the Orchestra together with vision in the years The Barbican Campus is a unique collaboration the Barbican Centre. ahead.” between a leading conservatoire, an international Professor Barry Ife, arts centre and one of the world’s great Principal, Guildhall School orchestras. The submission to HEFCE promised the collaboration would: ‘ • sustain excellence, build audiences, increase the impact of the Campus’s work and make a fundamental difference to the lives of those it reaches locally, nationally and internationally • create powerful links between young people, emerging and established professional artists, diverse audiences, the creative industries and society at large • offer a model of large-scale, systematic artistic and institutional collaboration that will deliver significant benefits within and beyond the higher education and arts sectors.

4 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Unprecedented social and technological ‘The LSO believes this could A pilot year is already underway changes are transforming the landscape transform the orchestral profession with students benefiting from of . The technology used in the UK and Europe… Across the regular coaching and sectional for recording as well as listening to three partner organisations we work with LSO players as well as music is continually evolving and the have the potential to bring some a mentoring programme of every range of leisure pursuits available, due of the world’s greatest artists and student partnered with a professional to the rapid expansion of personal and players together to nurture and player, masterclasses and orchestral home entertainment, mean that the shape the orchestra of the future.’ rehearsals with leading conductors challenge of attracting audiences to Kathryn McDowell, (such as Sir Colin Davis, Valery Gergiev, orchestral music has never been greater. Managing Director, LSO Daniel Harding, Pierre Boulez, James All of these changes present challenges MacMillan) and a string ensemble Centre for Orchestra will comprise a and opportunities for established led by Gordan Nikolitch. programme of postgraduate orchestral and aspiring players, conductors and training and development based Centre for Orchestra will also develop composers as well as the listeners around works that will be performed a range of research and development themselves. Centre for Orchestra within the LSO/Barbican season, and activities that amplify existing LSO, will provide a forum for orchestral including: Guildhall School and Barbican development in the 21st century. • study of existing orchestral initiatives and explore new ideas, repertoire and the art of playing making full use of the opportunities within a section presented by the connections and • advanced techniques for dealing technology available to the three with contemporary repertoire partner organisations. Key artists from What the the LSO and Barbican seasons will be • development of skills in devising involved in talks, lectures, webcasts and leading education and and video conferences; a range of musical community work new works for orchestra will be world has • alternative approaches to commissioned drawing in composers maintaining well-being as a from different musical genres and performer leading composers (such as Guildhall been needing • development of basic conducting professor Julian Anderson) will engage techniques and skills in practical research around the issue Sir Colin Davis • administration, promotional and of orchestration; and examination entrepreneurial skills for survival of historical performance practice ‘ as a freelance musician in a fast will be led by specialist directors changing world. and conductors through practical workshops and open rehearsals, while considering what it means for music- making today and tomorrow.

‘Centre for Orchestra will provide an unparalleled opportunity for the training and development of young orchestral players while keeping a focus on the evolution of the professional orchestra of the future.’ Professor Barry Ife, Principal, Guildhall School

v Rachel Dyson

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 5 News Hard Hat Prom

6 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Following the clearing of the site for the School’s new Recent Prizes development at the far end of Silk Street, we took the unique Ian Horsbrugh Memorial Prize opportunity to hold an open-air for Composition won by concert: the Hard Hat Prom. Edward Nesbit Edward Nesbit is the inaugural recipient of the Ian Horsbrugh Memorial Prize for Composition named As Professor Barry Ife said: after the former Principal of the Guildhall School. “This concert is a small thank you to The prize was given on the recommendation of the our neighbours for their patience School’s external examiner, Michael Zev Gordon, for Edward’s orchestral work Kojata which formed while we redevelop Milton Court, part of the composition portfolio that he submitted and a foretaste of future delights.” at the end of his postgraduate course. Michael Zev Gordon said that ‘Edward Nesbit’s work is Short clips from the concert can of the highest order of craft and impelled by a refreshingly direct urgency of expression.’ be found on the official Guildhall YouTube Channel at www.youtube. Tylers’ and Bricklayers’ com/user/guildhallschool. Company takes a Guildhall theme At the instigation of Past Master Dr George Bird, the Tylers’ and Bricklayers’ Company ran an open composition competition for Guildhall students in the autumn term to provide a short theme that could be played at company functions. The resulting composition, March, by composition fellow Edward Nesbit was first performed at the Company’s Carol Service in December and will be featured at future events.

Guildhall Wigmore Recital Prize: Winner’s Recital March 2009 saw the launch of the Guildhall Wigmore Recital Prize, a prestigious new prize which will annually award an exceptional Guildhall School musician with a solo recital at the . This year’s winner was Ukrainian pianist Sasha Grynyuk, selected after competing in the final against four other talented musicians by a jury comprised of John Gilhooly (Wigmore Hall’s executive director), Wray Armstrong (senior vice president and co-director of IMG Artists), Adam Gatehouse (editor of live music, BBC Radio 3) and Jonathan Vaughan (Director of Music at 2012 the Guildhall School). The next Guildhall Wigmore Recital Prize final In 2012 the School’s Milton Court facility will house will take place in October – look out for the date a 610-seat Concert Hall, a 225-seat , a Studio in the next Events Guide. 2008 Theatre, and additional rehearsal, administrative and public spaces.

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 7 News gives ‘Ten Cheers’ for Guildhall Opera The Opera Department’s production of Aulis Sallinen's third opera The King Goes Forth to France this spring was previewed on Radio 3’s ‘In Tune’ programme and reviewed by The Times, , and The – to universal acclaim.

ulis Sallinen’s The King Goes Forth to France was commissioned by Savonlinna Festival, Athe BBC and the . It was performed at Covent Garden in the 1980s and this was its only subsequent production in this country.

The plot of this absurdist piece is hard to pin down. As the Prince of England approaches maturity, the Prime Minister Director Martin Lloyd-Evans, composer Aulis Sallinen and attempts to keep him occupied (and out of affairs of state) Principal Barry Ife by offering him four women from whom to choose his bride. Instead, the Prince chooses to mount a war against France. The School was delighted to be able to welcome the As Anna Pickard explained in The Independent, it “has acquired composer himself, when a pertinence few could have predicted at its 1984 premiere. he came to see his work Battered by climate change, England is in hock, its economy performed in the UK for Derek Welton unmoved by the Prime Minister’s ‘very best fiscal stimulation’.” only the second time.

8 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Pick of the press Guildhall “[This] production them (lustrously sung by is as brilliant as Raquel Luís) goes eloquently one could wish. mad as the war gets nasty. Singers of The Guildhall Other excitements include School’s orchestra, a rebellious English Archer conducted by Clive (Andrew Finden, compelling) the World who is flayed alive for Timms, projects speaking out against the Three of the 25 singers selected to the music with invasion.” represent their countries in the 2009 BBC subtlety and Richard Morrison, Cardiff Singer of the World competition ‘panache.” The Times are from the Guildhall School.

Andrew Clark, “Superbly designed and Daniela Lehner, who will sing for Austria, Financial Times lit by Yannis Thavoris and graduated from the Opera Course in 2005. Giuseppe di Iorio, Martin “Lloyd-Evans’s staging, Lloyd-Evans’s incisive Natalya Romaniw will sing for Wales. Natalya is imaginatively designed by Guildhall School of Music currently in the final year of her BMus and will Yannis Thavoris, is unfailingly & Drama production deftly join the Opera Course in September. crisp and clever. Under Clive balances comedy and Anna Stéphany, representing England, also Timms’s baton, the student tragedy, while conductor completed the Opera Course in 2005. In the performers, led by Derek Clive Timms produces same year, Anna won the Kathleen Ferrier Welton’s unhinged king and a powerful account of Award and the Guildhall School’s most Jonathan Sells’s conniving Sallinen’s sometimes arch, prestigious prize, the Gold Medal. prime minister, are finely sometimes brutal but never focused.” boring score.” We wish all three of them every success. George Hall, “Among the quartet of The Guardian This biennial contest, which is organised by BBC potential Queens, Rebecca Wales, was first held in 1983 to celebrate the “This was nothing short van den Berg’s sweet- opening of St David’s Hall in Cardiff and is now of a triumph from all toned The Nice Caroline generally regarded as one of the most important concerned.” and Raquel Luís’s baleful competitions for singers in the world. Serena Fenwick, The Caroline with the Thick Musical Pointers Mane are outstanding, Other Guildhall singers who have previously while Barnaby Rea’s performed in this prestigious competition “Ten cheers for a urbane Froissart and have included Bryn Terfel (Song Prize winner), conservatoire that stages Derek Welton’s arrogant, Ailish Tynan (Song Prize winner), Luciano something intriguing and irrational, polymorphously Botelho, Nathalie Christie, Gwyn Hughes Jones, contemporary.” perverse Prince/King are Gwenneth-Ann Jeffers, Camilla Roberts and “Hanging around are four delivered with charisma . young women from whom and intelligence.” the King is expected to Anna Pickard, The final will be shown on BBC2 on choose a wife. One of The Independent Sunday 14 June, 5.30pm.

Daniela Lehner Natalya Romaniw Anna Stéphany Anna Devin, Hanna Hipp, Rebecca van de Berg and Raquel Luís

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 9 News Two Shakespearean Actors

While our third-year actors Tell us about some of your early experiences at the Guildhall School – were busy preparing what were you working on in your for the production of first two years here? Richard Nelson’s play Nathan: “I have, in the first two years of training, had many leading roles – but Two Shakespearean only in one act or a few scenes; not an Actors, performed in entire play. It turns out that this exercise is actually much harder than when you The Pit theatre in the have the whole play in front of you, and a path that seems clear. The experience, Barbican in March, we like being just an Act 1 Romeo for Janet asked the actors playing Suzman, turned out to be more of a challenge than what I’m faced with now.” the two lead roles in the Peter: “During the previous two years at Guildhall we have play – Forrest (Nathan Hertz) and been put through a huge range of different performance MacCready (Peter Campion) – to types. From musicals to circus acts, taking on the physicality of an animal to show dance. It’s all in there!” tell us a bit about their preparation for the play and their experiences as Now that you are in your third year, your performances are open to the public. How does it feel to be regularly actors at the Guildhall School. performing to a live audience? Does it make a difference to your performance?

Nathan: “Well, one advantage of having a major role in the latter part of the third year is that you do get some experience first, in smaller roles, to perform in front of an audience. This has helped me understand, in terms of my performance, what changes with the introduction of the audience. An audience does change things, but it is good to rehearse every time as if performing to a packed house... so the shock of actual witnesses is less than 3000 volts of stage fright!”

Peter: “I have always been nervous before I go onto any performance space. The fact that these performances are public and not just to my peers in some ways makes it easier I think, but I don’t know, that will probably change with this one.”

How long have you been rehearsing for Two Shakespearean Actors?

[NB: This interview took place at the beginning of March; the production opened 23 March 2009] Nathan:”We started rehearsing with the director just under three weeks ago. But the rehearsal began in my mind as soon as the casting for this play was posted and I had a The company of Two Shakespearean Actors copy of Nelson’s play in my hands.”

10 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Nathan Hertz and Nicholas Banks

How do you go about learning lines when you are Peter: “The lines!” playing a major role, and how long does it take you to learn them? Are you excited to have the opportunity to perform Nathan: “Learning lines seems to be the only thing my in The Pit, the Barbican’s theatre? How does it differ memory is really fantastic for. I learned almost all of my lines from performing in the Silk Street Theatre? in the week we had off before rehearsals began. It helps, Nathan: “I am very excited to work in The Pit theatre. I when trying to learn individually, to read the other actors’ hold a great pride in the knowledge that the RSC spoke lines carefully and also the scene descriptions; everything said on stage is a reaction to outside stimulus.” the same text of Macbeth and Othello as we will in Two Shakespearean Actors. I hope The Pit will help reinforce and Peter: “I wish I did have a method for learning lines. I take prop up the more domestic and intimate scenes... maybe any chance I get really outside rehearsal time. On the bus, the in-house theatre would distance the audience and make tube, on a coffee break...also weekends are great for line those same scenes feel a bit alien.” bashing. How long it takes depends on the size of the part really. I’m just about off book now, but it varies with each Peter: “I am extremely excited about working in The Pit; it’s actor. It’s important to get off book as soon as you can.” a great privilege.”

What are you finding particularly challenging Do you have any plans yet for after you graduate? about this production? Nathan “After I finish my training here in London, I will stay Nathan: “Both Peter and I must learn to act like another and continue to look for work. My mother is still a British actor... but it becomes difficult when trying to achieve the citizen [Nathan is American] so there is always a possibility level of excellence on stage that, in my case Edwin Forrest of becoming a dual US-British citizen and ideally I will be (the first great American star), achieved historically in his working on both sides of the pond.” performance all over the early United States of America. It feels very ambitious and athletic to shift between present- Peter:”Plans? Get an agent and get a job!” day naturalist acting and 19th-century melodrama, without so much as a scene change to have a bit of a shake-out!” v Jenny Beer Development Administrator

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 11 News Connect – full circle For twenty-five years Guildhall Connect, the School’s outreach programme, has enabled In recent years we have begun to see people who took part in Connect workshops people of all ages and when they were young coming into the experiences to engage in Guildhall School at undergraduate and postgraduate level. The process has, in live music making led by fact, come full circle, with former Connect tutors and students from participants graduating from the Masters in Leadership programme and taking the skills the Guildhall School. they have learnt here out to communities further and further afield. In addition to the core work of the programme in Marc Pell I first got involved East London and around with Connect while studying the UK, our students and at NewVIC sixth- form college in alumni have taken the Newham, East Connect model worldwide. London. The music we made In the last twelve months was so diverse and everybody there have been projects was deeply engaged in suggesting ideas, leading their own smaller ensembles within the larger body, in North America, South improvising, structuring, and experimenting. The America, Eastern Europe, workshops embraced every age and playing standard. In being so heavily involved with the Connect Spain, , Hong Kong workshops I was brought closer to the Guildhall School to the point where I wanted to study there; and Japan. my main ambition being to learn how to lead and run similar projects. The Connect workshops from college v Clare Catchpole Projects Administrator gave me a real step-up in learning how to collaborate with other musicians and art forms, which is a big part of Guildhall’s ethos. I have used those workshopping skills in every band, ensemble, project, collaboration and my own personal practice since.

12 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Michael Goodey I took part in a week long World In Motion workshop one Leon Fleisher summer and loved it. I stayed Masterclass in touch with Many of the world’s greatest pianists come to my old college, the Guildhall to give masterclasses and we in the where Connect Keyboard Department regard the masterclass was very active. I knew lots of people regularly programme as a very important part of the students’ taking part in Guildhall Connect projects. educational provision. Recent distinguished visitors After leaving university and wondering what include Murray Perahia and Richard Goode (who is to do next and how to move forward, I heard our International Chair in Piano Studies). The recent about the Masters in Leadership programme at visit to the School on 17 February of the eminent Guildhall and knew that I had to apply to do it. American pianist and teacher Leon Fleisher was a particular highlight however. Mr Fleisher, who celebrates his 80th birthday this year, is a hugely respected and admired teacher. His playing career Emma Williams was interrupted for nearly three decades by the problem I first became involved of focal dystonia which made it impossible for him to play in Guildhall’s Connect with his right hand (during which time he became pre- project whilst I was a eminent as an exponent of the repertoire for piano left student at Newham hand) but happily in the last few years he has overcome Sixth Form College. I this and plays regularly with both hands (during his time hadn't really heard of in London in February he also performed with the London the Guildhall School Philharmonic Orchestra in the Royal Festival Hall). before, and was really The repertoire for the masterclass was chosen to reflect impressed with the Mr Fleisher’s particular concentration on the Austro- World In Motion East German musical tradition – Beethoven’s Fourth Concerto workshops I had taken and Schubert’s Wanderer Fantasy. The Beethoven was part in. As a result, I played by Sasha Grynyuk (winner of the 2008 Gold Medal and Guildhall Wigmore Recital Prize) and the applied for the Electronic Music Degree course. Schubert by Alexander Karpeyev (finalist in the 2008 In my final year, I decided that I would like to Gold Medal). A packed Music Hall was treated to an continue my studies in the workshop area and afternoon of formidable insight, erudition and wit from was accepted onto the Leadership Masters Mr Fleisher who later delared himself delighted with course. Here I have learnt so many skills that the level of performance throughout. An occasion such have helped me to really focus my practice as a as this exemplifies how the central educational work of creative musician. the School can be directed outwards to give a public demonstration of the very high standards expected and This experience will enable me to lead my achieved in the School. own projects in the future, hopefully inspiring young people to get involved with music, just v Ronan O’Hora Head of Advanced Performance Studies as Connect’s projects and tutors inspired me.

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 13 Interview

Tasmin Little (Violin 1986) is an internationally-acclaimed soloist, chamber violinist and, most recently, conductor. She is also an innovator, exploring ways in which new audiences can be drawn into the world of classical music and how musicians can engage with new and existing audiences. Professor Barry Ife talked to Tasmin about her groundbreaking recent project, The Naked Violin, her subsequent album Partners in Time, and her thoughts on Centre for Orchestra and developments in music education in general. The Naked Violin Partners in Time 14 GUILDHALL SCHOOL NEWS • SPRING/SUMMER& 2009 classical CDs. I actually wrote to him to The last time that we met you were B say you don’t have to chuck them out, just in the thick of the launch of The just add to your collection. That’s the Within literally Naked Violin. How has that gone? great thing about music – you don’t have to choose! T What astonished me about The a couple Naked Violin was the speed with which B What reactions did you get to everything happened. Within literally a the challenging repertoire on The of weeks couple of weeks 250,000 people from all Naked Violin? over the world had visited the website. 250,000 I began the project by setting out a T If I had to sum up the reactions 3-step challenge to people who were that I got it would be surprise at how ‘people from all new to classical music. The three steps possible it was [to engage with classical were: 1) to listen to the download music]. I’m sure that the spoken carefully and get to know the pieces, introductions that I had provided over the world not to just listen once but really get helped – in fact I know that, because familiar with the sounds; 2) to write to people wrote to say so. had visited the me and let me know what they liked So many of the things that I have felt or didn’t like about the music; and 3) for a long time seemed to be proved website. to go to a concert or buy a classical right. First of all that everybody has CD – and, if they still didn’t want to the potential to appreciate classical music development condensed into a do either of those things, to tell me music but also that it can help a great what barrier still remained for their 70-minute CD, but each piece has a deal if we the performers can think very distinctive development. enjoyment of classical music. of different ways to get through to I didn’t have anybody write to me an audience who might be new to When you start with the Bach, the lines to say that they still felt that there the repertoire. In fact that was one of are very clean – in the Baroque era was a barrier. There was a variety of the things that I decided to do when I keyboard is very much the dominant repertoire on the download and some released my CD which is the next part role – and even in the Mozart, people preferred different things, but of the project: Partners In Time. although the violin is becoming more everybody had found something that equal in the partnership, it is still they really enjoyed and in some cases B Do you see that as the follow-up the piano that takes the initiative all of it. That for me was one of the to The Naked Violin? when there’s new material. All of this most exciting parts of the project. changes around dramatically when you T Very much so, yes. It is one in a get to Grieg as it’s actually virtuosic for B How many people completed the set of CDs that BIS are putting out for both of the players. The Tchaikovsky 3-step challenge? me. Each one will build on The Naked are very ‘violin and piano’ pieces with Violin in terms of the repertoire. I hope the piano in an accompanying role, as T Well, I didn’t have thousands and people will follow me on a journey and is the Bartók. thousands of letters. I had hundreds if it is new for them the journey really and hundreds. Sometimes it was will be one of fantastic discoveries. B The Grieg [Sonata No.2 in G major, just as simple as a letter in a foreign Op.13] is a wonderful piece and I think language saying “Thank you very much B The repertoire on Partners In Time a lot of people will be interested to – beautiful!” but some people wrote is a little more accessible…? hear a less obvious piece… very detailed letters. Yes, I wouldn’t say it was safer That’s right. Although the One person wrote of mourning the loss T T repertoire, but I would say that each repertoire is, I think, amazingly Partners of a loved one and the music helping of the pieces on Partners In Time is immediate, these are all complete gems. them. Another wrote describing perhaps more immediate. himself as an ageing rock’n’roller who The Grieg is not a piece that is regularly [having completed the challenge] The idea of Partners In Time was first done in concert and the Mozart sonata wanted to chuck away his whole of all to present this chronological – people tend to go for the tried and in Time rock’n’roll collection and replace it with development – 200 years of classical tested (the big B flat, the famous

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 15 Interview

A major) – is not a piece that is in every I hoped that I would end up doing because you see some people walk on violinist’s repertoire and regularly on what I have ended up doing, but I had stage and your heart sinks. There’s no the concert platform. In fact, even no way of knowing. I thought that acknowledgement of the audience, a the Bach; often violinists will turn to I might end up in an orchestra, so I shuffle of a bow… the solo repertoire of Bach and the needed some orchestral experience and It’s all to do with presentation, which keyboard violin sonatas aren’t pieces actually the times that I was leading the has nothing to do with the music symphony orchestra and accompanying that are regularly aired. but it has everything to do with the somebody playing a concerto taught After the success of the spoken performance and audiences expect me as much as standing up and playing introductions on The Naked Violin I that. It’s an international concert scene a concerto myself. In many ways it decided to take it one step further – people come from abroad, they dress taught me more about team-work and create a dedicated website [www. well, they walk on stage and look very and how you cannot neglect knowing partnersintime.eu] with substantial professional. Anybody that walks on your score and what everybody else is spoken introductions and also stage, regardless of whether they’re doing. They were exceptionally helpful substantial chunks from the disk that a soloist or in the orchestra, needs to experiences for me. people can listen to. It is a tool for walk on with a certain presence. learning. It can be used by teachers Are you up to date with the latest We need to be a bit more on the ball in classrooms or it can be used in B developments here? about that one aspect of performing the privacy of people’s homes if they but in every other way I think that we want to find out more. There’s a big I am – the very exciting partnership should be proud of music education opportunity there for people to just go T with the LSO and the Barbican! in this country. We turn out fine to the website and have some fun! musicians and the standard is just getting better and better. Yes, we are now going into a Do you feel that the education B B formal partnership with the LSO so that www.tasminlittle.org.uk and training that you got as a young our students will get coaching from professional prepared you adequately LSO players, take part in masterclasses, for what is an incredibly busy play in ensembles led by LSO professional life? Do you feel that you conductors and players and collaborate got the best training and preparation in outreach. that you could?

Wonderful! Almost makes me I absolutely do! From a musical point T T tempted to come back again! of view I had a very varied training, but that was a deliberate choice. B A lot of thought, effort, planning I was at the School and resource is going into trying for 10 years and the training there is to improve music education in this of an exceptionally high standard – country at the moment. Is there academically very good and musically anything that you think we should be first rate. After that I wanted in a sense doing that we’re not? to offset the small size of the school and the fact that not every instrument T The only thing that I felt I was not could be represented there. very up to speed on when I graduated is the business of how to run a career. I chose to come to the Guildhall and For instance, how to get an agent, or not do the Advanced Solo Studies get some decent photographs, or put course but to do the full AGSM course together a CV, or write a letter to get because I wanted the experience of an audition or ask someone to help you playing in an orchestra, playing in find an instrument. The very practical an opera orchestra, playing chamber knowledge that is non-musical. music, the general musicianship studies – all of those aspects which the course I know that in the States they are given offered – even a mini-jazz course deportment classes – how to walk on (which was great). stage – and actually that is important Tasmin at the Guildhall School 125 Anniversary Concert

16 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Junior Guildhall It was a great team: of Le Phénix by Corrette Meyrick Alexander, accompanied by Junior Guildhall String Orchestra. Sarah Burnett, Martin Big Then, during lunch, Gatt, Tom Hardy, Graham various bassoon quartets Hobbs, Gordon Laing, consisting of teachers, Stephen Maw, Bob Porter, Junior Guildhall Students Bassoon Stuart Russell and and undergraduates Richard Skinner. from Senior Guildhall serenaded everyone with As the day began Sarah quartet music. Day Burnett remarked that The afternoon contained “If I didn’t know where Masterclasses for all levels the event was it wouldn’t The initial idea was to arrange and then, after a short have mattered as I just rehearsal, the grand finale a special day with a couple had to follow the mass of the whole day of bassoon cases commenced with two of masterclasses but it simply flooding their way to groups of massed ranks the Guildhall doors!” of bassoonists, directed by took off. As student numbers Bob Porter and Graham The morning consisted increased we had to increase the Hobbs, performing on the of a number of carefully balcony of the foyer for the teaching roster proportionally differentiated classes assembled parents. according to experience of: The whole day, which and finally ended up with 83 • Try the Contra Bassoon had been generously students, 6 undergraduate • Reed Care/Adjusting/ sponsored by Fox UK, had Making a wonderful atmosphere helpers and 10 staff. Just before the lunch break, and excited buzz and was a quartet of bassoonists a tremendous success.

from Senior Guildhall v Bob Porter Head of treated everyone to a Wind, Brass & Percussion – wonderful performance Junior Guildhall Tasmin at the Guildhall School 125 Anniversary Concert

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 17 News

Reflective Presentations Three excellent keynote presentations Conservatoire framed the conference: • Professor John Sloboda – Challenges facing the contemporary conservatoire: a psychologist’s perspective. Conference This focused on vital issues of what it means to be a reflective conservatoire: on the need for professional rom 28 February to 3 March 2009 the second reflection (improving what you already do) and Reflective Conservatoire Conference: Building paradigmatic reflection (developing new things) and the F Connections took place at the Guildhall School. balance between them at different times. As with the first conference in 2006, it was designed • Sir Christopher Frayling – Research in and through to bring performers, teachers and researchers together the arts: what’s the problem? Sir Christopher spoke from to share and debate practice, and to reflect on key his extensive experience in the field of fine art about the contemporary issues in conservatoires. The timing of tensions and challenges of formulating and undertaking the conference coincided with the exhibition in the research as an artistic practitioner. Barbican Art Gallery dedicated to Le Corbusier: The Art • Professor Barry Ife, Sir Nicholas Kenyon and Kathryn of Architecture, and the McDowell – Playing as One: The Barbican Campus. title Building Connections They discussed the potential of collaboration between a thus resonated with conservatoire, an arts centre and a first class orchestra, important developments and what has already been achieved in the case of the in the School as a whole, Barbican Campus. not least the partnerships A particular focus was given in the preparation to the evolving through the session chairs who were chosen for their expertise, and Barbican Campus. who met before the conference to discuss new formats and The conference was organised in partnership with interventions to make the links between the presentations the ‘Polifonia’ project of the European Association of stronger and to assist the presenters in getting the most Conservatoires (AEC), Society for Education, Music and out of their sessions. Many presenters commented on their Psychology Research (SEMPRE) and London Centre for stimulating approach. Arts and Cultural Exchange (LCACE).

Over two hundred people attended the conference from twenty-three countries, and twenty-nine members of Guildhall staff were involved in presentations. Sessions covered topics as diverse as masterclasses, improvisation, interpretation based on facsimile, the nature of research which performing artists do, and health and injury prevention.

The overall themes of the conference were: • Teaching for learning • Artistry and creativity • Playing together – collaboration, exchange and partnership • Health, well-being and the student experience • Lifelong learning and performing artists in the 21st century

18 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 A huge amount of positive feedback has been received about the excellent organisation of the conference, the inspiring programme and the opportunity to meet colleagues, debate and network.

‘I felt very stimulated and was glad I participated in this conference. There were many issues that were relevant to my own sphere of activity Aaron Holloway- and several complex issues about conservatoire Nahum Wins Inaugural teaching were addressed in a thorough manner’. Mary Ryan Richmond Concert Society ‘My congratulations to everyone involved in mounting such a well-organised conference’. Composition Award

‘I look back with great feelings of pleasure to the The first Mary Ryan Richmond Concert Society conference: the content was very interesting, Composition Award has been won by Guildhall the networking and organisation great and the composer Aaron Holloway-Nahum. This new prize, intended to be an annual award, gives an keynotes superb!’ opportunity for a composition student at the School to write a new work for performance as v Hilke Bressers Curriculum & Research Coordinator part of the Richmond Concert Society’s regular series. One of the conditions of the commission is

Performance highlights included “Lads in their Hundreds” directed by Professor that the composer will write a piece that will be Iain Burnside, a Guildhall Connect ensemble, the 1st year actors in masks and performed by a Guildhall School ensemble. This performing their zoo in the Barbican conservatory, and a stunning piano recital to year’s submissions, in the form of proposals for the close the conference by 2008 Gold Medal winner Sasha Grynyuk. new work, were judged by a panel consisting of Julian Philips (Head of Composition), Kevin Raftery (Richmond Concert Society) and Laura Samuel (violinist, Belcea Quartet). Aaron Holloway-Nahum studies with Julian Anderson, Composer in Residence at the School, and is supported by The Leverhulme Trust. He is the first student to follow the School’s new DMus programme in Composition, which launched in September 2008. His new work will be performed in a concert promoted by Richmond Concert Society on Tuesday 14 July, St Mary’s Parish Church, Riverside, Twickenham. The prize was made possible by a bequest from Mary Ryan, a former member of the Richmond Concert Society. It allows subscribers to the Society to be involved in of new music, and to provide Guildhall School composers with an audience. One of the long-standing members of the Society and Honorary Music Director is Guildhall School alumnus, Howard Greenwood.

v Duncan Barker Head of Development

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 19 News

Wouldn’t we all love to know that when we talk, people listen?

Patsy Rodenburg, Head of Voice In her new book Power Presentation (Drama) at the Guildhall School and Patsy Rodenburg applies her unique voice coach for many highly successful and highly effective ‘Three Circles of actors, including and Energy’ system specifically to business Helen Mirren, leading politicians and workplace scenarios. and corporate executives, has spent Date for your diary: Following the her life working on voice, language success of last year’s ‘In the Presence and effective delivery. She believes of Patsy Rodenburg’ workshop, that ‘presence’ in a speaker is the Patsy will demonstrate and discuss beginning and end of all good and the principles of the three circles powerful communication. When you in another public workshop with Guildhall students on 13 October communicate with your full presence Patsy Rodenburg wants 2009 (NB: Guildhall Circle members your words will live, inspire, provoke to free your voice so that will receive priority booking for this and prevail. Contrary to popular belief, you can express yourself event, which is expected to sell out). Patsy Rodenburg knows that true fully and honestly presence can be easily taught. v Rachel Dyson Sir Ian McKellan

Linklaters masterclass at Guildhall

Neighbouring City law firm Linklaters drew together its support of both the Guildhall School and the LSO in a recent masterclass in the School’s Music Hall. The masterclass was given by violinist David Alberman, holder of the Linklaters Chair in the LSO, and featured Guildhall musicians, Anna-Liisa Bezrodny (violin) playing Prokofiev’s Concerto in G minor, and Tetsuumi Nagata, John Doig (violins), Arthur Bedouelle (viola) and Ella Rundle (cello) playing Schubert’s A Minor Quartet. The class was attended by Linklaters employees as well as members of the School and the public. Linklaters generously supports the annual Scholarships Fund at the Guildhall School.

20 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Alumni Pages Over to You Reunions Class Notes

Three celebrated Guildhall alumni, Alan Opie, Claire Rutter Distinguished and David Stout, gave their valuable time and considerable talents to support the school in March, taking solo parts alumni return in two performances of Beethoven’s Ninth Symphony. The concerts were the most recent in an ongoing series to perform performed by the combined orchestras of the Guildhall School of Music & Drama and the , conducted by Sir Colin Davis. On this occasion the Beethoven’s 9th orchestras were joined by singers from both conservatoires and the King’s College London Chamber Choir.

They performed to a packed house at The Anvil arts centre in Basingstoke on 18 March (Claire Rutter and David Stout) and a sold out auditorium at the Barbican Hall on 20 March (Alan Opie and Claire Rutter). Hilary Finch from The Times came to the Barbican concert and gave it a four-star review:

“As feathers in the cap go, this performance of Beethoven’s Ninth Symphony was a magnificent one for the combined orchestras of the Royal Academy of Music and the Guildhall School of Music & Drama… four alumni joined them as soloists, each one testimony to the vocal prowess fostered by those institutions.

“Claire Rutter, leading the quartet of soloists, sang with stellar assurance and clarity; and Anne Mason, Philip Langridge and Alan Opie were well-matched… The orchestral players – for many of whom this was surely their first Beethoven Nine – had anticipated that great choral finale in a thrilling tutti, preceded by a cello recitative of rippling muscle and excitingly rough, gruff energy.”

v Rachel Dyson

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 21 Over To You

The Gathered Throng A Meeting of the Clan Acting Class of 1997 reunion When Bob Porter emailed with increased interest in It all began with a posting marriages and deaths had me to ask if I could practising and all wanted to promote the Big Bassoon on Facebook just before all occurred and shaped our attend again. Day I thought it was such Christmas. A long forgotten lives in one way or another. I had fun getting a young a great idea that I got busy picture of the final day Little was made of the fact group to try the contra sending emails to pupils of our first term in the that a small percentage of and another even younger and other bassoon players. hallowed halls sparked a the year were still acting, group to adjust reeds Word spread fast and news chain reaction of emails yet everyone was still and I was very impressed and speculative suggestions of the event was buzzing involved in the arts in one by the parental support that a 10 year reunion of around cyberspace! I had way shape or form. Some and enthusiasm too. The our leaving Guildhall was met with Helena Gaunt of the gathered throng had bassoon world is always not out of the question. and other alumni and a friendly one and it did travelled from as far afield Suddenly over two thirds of professionals last summer make me wonder what a as Los Angeles, Australia, the year had responded in to discuss double reed Big Oboe Day would be Scotland and even Bradford the positive and the meet initiatives and so it was like and if they could create (!) yet the years soon fell was on. A central London great to see this event something as large and fun away as we saw the night location was agreed upon – being organised. as this so fast (yes, that’s which unfortunately decided out with tequila shots Judging by how quickly an intentional challenge). It to carry out renovations and happy memories and it filled up and the final really was a meeting of the on the crucial day – and photographs. For any similar attendance figures this is clan. Bob’s arrangement so a quick change of plan years wavering over the something that definitely of “When the Saints” for found 17 of the year thought that your year may captured the imagination huge bassoon ensemble from 1994–1997 (and a have little to talk about or of the bassoon world! I was a riot and a great refugee from 1993–1996!) not have much in common only managed to get six send off. I didn’t count the gathering in the suitably players as I was busy being nowadays, abandon all such of my pupils there due to named Shakespeare’s Head the only contra amongst musings and revel in the the half term break and on Sunday 4 January 2009 memories of Ken’s green well over twenty other to reminisce and recapture too many of them going tracksuit, Wendy’s Elton bassoons! Don’t miss the three years of our lives from off for expensive holidays John glasses and Robert next one! over a decade ago. but those who came really Redford arm swings and enjoyed it and came back v Tom Hardy Bassoon 1983 The gamut of emotions had take the plunge! been experienced by the collected gathering: births, v Simon Cole Acting 1997 What can you Acting Class of 1997 tell us about… Composing for stage and screen? A number of Guildhall alumni have gone on to forge successful careers in composition for theatre, film and/or television. Although we do not have a course dedicated to this subject, as both a conservatoire and a drama school, our students are in an ideal position to explore the different skills involved in composing music for both live and recorded drama and can do so in elective modules. If you have experience in this field, we would love to hear your thoughts on [email protected]

22 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Alumni spotting Alumni spotting..

One of the chief delights of being Principal of the Guildhall School of Music & Drama is the opportunity to follow avidly the careers of former students. Almost every visit to a concert hall or theatre, whether in London, elsewhere in the UK or overseas, unearths one or more of our alumni. Consequently, the gentle art of ‘alumni spotting’ has become something of a small obsession.

Invariably, Guildhall alumni are proud to remember their time at the School and rarely fail to mention they trained here no matter how long or short their professional biography. As Alistair McGowan recently commented, Training young artists is very expensive – on average the “Any admission of being a graduate of the School is usually total cost is over £20,000 per student, per year. Part of this met with an admiring nod (verging on jealousy) and the cost is met from City of London and government grants: the words, ‘Oh! Guildhall.’” Insiders have always known that rest has to come from fees. Next year, an actor and a vocal the Guildhall School is the institution to have on one’s student from the UK or EU will pay £3,145 and £6,800 professional CV and the achievements of our alumni now respectively for their studies. Students from outside the EU inspire future generations of young musicians, actors, have to pay even more. Without their continuing belief in theatre technicians and stage managers to follow in the the quality of the Guildhall School’s training, many students footsteps of our alumni and look to study at the School. would not take this vital step towards a professional career.

There are few auditions that can loom as large as the Every year, through the generosity of grant-making trusts, one that secures a place to study at the Guildhall School. City businesses and livery companies, the School helps Competition for places remains fierce in all areas and at all nearly 250 students with scholarships towards their fees. levels. Every year, audition panels hear the most talented But we would like to help more. Despite having made good musicians from across the world and those with the progress in recent years in increasing the number and value greatest amount of potential to benefit from the Guildhall of scholarships available, we still have some way to go to experience. Indeed, our acting course now has such a provide the financial support our students need year on year. strong reputation that we audition over 2,000 candidates This is where you can help. We will shortly be writing to alumni for the 24 places on offer each year. to ask if you are able to support us by making a donation However, getting a place at the Guildhall School, no matter to the Scholarships Fund. Donations to this Fund from our how intense the competition, is only half the battle. The alumni community will really make a difference in helping other challenge is a financial one – how to support your a new generation of young musicians, actors and theatre professional training for your future career? technicians to come to Guildhall. We are not unique in seeking philanthropic support from our former students – universities Imagine, for a moment, your reaction to winning a coveted have been doing this for many years. However, we trust that place at the Guildhall School. Now, try to think about how our alumni will seize this as an opportunity to give back in you would feel if you discovered that you could not afford recognition of the high standard of training they once received the expense of your tuition fees and living costs. Can you and the chance to share this experience with others. picture how different your life would have been if you had not been able to take up your place? v Professor Barry Ife Principal

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 23 Class Notes

been performed in Austria, de Compostela and Vigo, Dom is also Aled Jones’ MD Music France and Italy, where they and the Esprit Orchestra and runs the English Session were broadcast by RAI. commissioning a new Ellery Beckett (Voice 1979) Orchestra. As a pianist, Dom orchestral work for their New is endorsed by Roland on Ellery, now known as Judith Clark (Flute 1976) Wave Music Festival 2009 in their Artiste Liaison Scheme. Lucinda, Beckett will Judith has taken over from Toronto. Additionally, Dom wrote, marry Alan Whymark on Ivan Rockey as General produced and performed 12 September 2009. She Manager of the Brighton Mike Cunningham (Tuba 1997) would be happy to hear from the title music for Mumbai Philharmonic Orchestra (BPO). Mike now specialises in any of her contemporaries Calling, a sitcom featuring Since graduating from the enabling musicians and (the Alumni Office will Sanjeev Bhaskar, and the Guildhall School, Judith actors to perform confidently forward any messages). latest NSPCC TV advert. has gained a wealth of under pressure, coaching He was also oboist on the Oscar Bettison experience in the arts and them to overcome nerves, Cadbury’s Coronation Street (Composition 1998) arts administration. For stage fright and anxiety twelve years she was Music associated with performance. TV ad. Boosey & Hawkes in New Officer for South East Arts, He gives regular classes at York has launched a new Kendra Preston Leonard the Guildhall as well as giving sponsorship initiative she has acted as a consultant master classes at places like (Cello 1996) for young for the London Symphony the , America-based Orchestra’s education centre Kendra Preston Leonard has composers, and was Director of St Mary’s Trinity College of Music and been awarded a 2009 Visiting providing in the Castle, Hastings, the Royal Welsh College of Fellowship by the Beinecke publishing, from 1996–2002, where Music and Drama. Rare Book and Manuscript promotion and she was responsible for Library at Yale University to all aspects of the work. In career support to help conduct research for a project 2002 she became Executive nurture the next generation of on American composer creative talent. Oscar Bettison Consultant for South East Louise Talma. Leonard, a was selected as one of the first Music Schemes, a charity and musicologist, is the author three ‘Emerging Composers’ limited company promoting innovative developments by of The Conservatoire under the new programme. His clients have included professional musicians. Américain: a History, and professional musicians who Francesco B. Cilluffo Shakespeare, Madness, and work with the top orchestras (Composition 2004) Òscar Colomina i Bosch Music: Scoring Insanity in (Composition 2006) throughout Europe, from the Francesco has been Cinematic Adaptations. She is London Symphony Orchestra commissioned to compose Following his first Aldeburgh a member of the Council of to the Royal Concertgebouw an opera for the DiCapo Festival commission, Oscar Orchestra in Amsterdam. the American Musicological Opera Theatre, The Mortara won the Music of Today Outside the world of music Society and the editor of the Case, which will open in New 2008 festival in Valencia and he has worked with people Society for American Music York in the 2010 season. conducted two successful from organisations such Bulletin. concerts for the Segovia Soon after graduation Summer Festival. as the United Nations and Francesco went to King’s the BBC to enable them to Robert Sprayberry College London (where After enjoying a five- perform at their best under (Composition 1997) he was awarded a PhD in week residency in Cove pressure. Robert is touring as associate composition in 2008) and Park, Scotland, he made conductor for the new has worked as assistant his conducting debut in To contact Mike, you can visit national and international conductor at the Chicago Madrid in December and www.mikecunningham.co.uk. Lyric Opera House and at participated in the Royal tour of RENT - Dom Kelly (Oboe 1990) the Gewandhaus in Leipzig, Musical Association Students Tour featuring the original recently conducting the Research Conference 2009 Having studied oboe with cast members from the LNSO in Lebanon and the with his paper ‘Furthering Nicholas Daniel and Helena Broadway production of Stefano Tempia Orchestra Structural Thought in Gaunt in the early 90s, 1996 when he won the and Chorus in Italy. Francesco Contemporary Music through Dom continues to freelance Pulitzer Prize and the Tony has also won the second Fux Contemporary Literature, on the oboe, particularly Award for best musical. Contemporary Philosophy and Semiotics’. on the commercial scene, Opera Prize His music is gaining wider having played on films such Touring all over the United at the Graz recognition with the Real as Hannibal and Bridget States and Japan and University for Filharmonia de Galicia giving Jones’ Diary and albums for South Korea on the current the Arts and two performances of Open Paul Weller, Elbow and Guy schedule. More cities and his works have the Curtains in Santiago Chambers. dates to be added.

24 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Alumni Weddings

Elena Xanthoudakis Michelle Dockery (Acting 2004) Their productions have already Huge congratulations (Voice 2005) included Three Days of Rain Michelle has recently returned to the following Acting and Well (), This year Elena won the to the National Theatre Spring Awakening (Novello alumni couples who International Adam Didur to play the leading role of Theatre), Blowing Whistles were married recently Opera Singers Competition Maroussia in Peter Flannery’s ( Theatre), in Poland and recently adaptation of Burnt By the Vincent River (59e59 Theater, © Helen Maybanks received 3rd prize in Placido Sun. The production opened New York), Fanny and Faggot/ Domingo’s Operalia. This year to critical acclaim, with she has sung Clorinda in La Stacy and Lonely and Misfit Benedict Nightingale in The Cenerentola with Magdalena (Trafalgar Studios and tour) Times stating that “The acting Kozena, as well as Frasquita in and GBS (Theatre 503). is consistently fine, starting Carmen for the Royal Opera with Michelle Dockery as a Giuseppe di Iorio House, Covent Garden and (Technical Theatre 1992) made her debut for Australian Maroussia suppressing the Company Victorian Opera as ‘free spirit’ attributed to her” Giuseppe has had a busy and Michael Billington in The Adina in The Elixir of Love by international start to 2009. Lucinda Millward Donizetti. Guardian describing “Michelle In addition to designing & Christian Burgess Dockery’s Maroussia [as having] Elena’s the lighting for the School’s a luminous, tragic beauty.” August 2008 current and critically acclaimed Spring future plans Daniel Evans (Acting 1994) opera, The King Goes Forth to France (cf p.8), he include: Daniel has recently been Blonde The has also worked on L’Elisir appointed Artistic Director of Abduction d’Amore at Glyndebourne, Sheffield . He will from the Seraglio The Light in the Piazza at take on the position full time for Opera North, Adina for The Curve, Leicester, The in June, to prepare for the Scottish Opera and her return Real Thing in Dublin, both to ENO in 2010 as well as complex’s grand reopening in Faust and Zaïde in Spain and concerts in Sydney, Hobart, November. Gotterdammerung in Brazil. Quebec City and on tour We would also like to Danielle Tarento (Acting 1994) throughout the UK and in congratulate Daniel on Danielle has become joint Ireland. running this year’s London Sophie Roberts Artistic Director at the King’s Marathon for the first time & Richard Goulding Head Theatre in Islington, Drama in 4hrs 5mins, raising over October 2008 £8000 for MIND. working alongside Stephanie Neil Austin (Technical Sinclaire. Theatre 1992) Roger Evans (Acting 1996) Leon Williams (Acting 2005) Neil Austin has received a Roger Evans stars in the string of award nominations internet comedy pilot Leon has had a steady for his lighting designs this SVENGALI which can be stream of stage roles, up year: Best Lighting Design at found on YouTube, Facebook and down the country, since the and MySpace. He is joined graduating in 2005. Most for both No Man’s Land and in episode two by fellow recently he played Pip in Great Piaf; Best Lighting Designer Guildhall alumna, Jodie Expectations at Manchester at the Whatsonstage.com Whittaker. Could this be Library Theatre, prior to Awards for Oedipus, Piaf and the future of independent which he had done a season No Man’s Land; and, Best television production? at the Open Air Theatre, Jodie Whittaker Designer: Lighting at the Irish Regents Park in both Romeo Andrew Fishwick (Acting 2001) & Christian Contreras Times Theatre Awards also and Juliet and Twelfth Night December 2008 for No Man’s Land. With his colleagues, Kate which in turn followed on You can currently see his work Mackonochie and Ros Povey, from English Touring Theatre’s on Madame de Sade in the Andrew Fishwick has set up tour of The Changeling. Donmar West End Season The Fish Partnership (or TFP). His other appearances directed by Michael Grandage, TFP are quickly establishing have included Charley in England People Very Nice at themselves as Producers and Charley’s Aunt (Oxford the National Theatre directed General Managers of exciting Playhouse), Wilfred Owen by Nick Hytner, Mrs Affleck at and innovative theatre in in Not About Heroes (Royal the National Theatre directed the West End, nationally Lyceum ), Edward by Marianne Elliott and the and internationally, with in Skylight (Stephen Joseph production the stated aim of producing Theatre) and the title role in of Frost Nixon on tour in the US. “only exceptional theatre”. Hamlet (October House).

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 25 Reunions Obituaries

Lionel Altman Ewen Balfour Recent was a long was a much Stage Management and standing member respected Technical Theatre class of of both the Board public relations 1985, 25 years since beginning of Governors executive who the course of the Guildhall held several Acting class of 1997, 15 years School and the high-profile since beginning the course Guildhall School positions Trust. He had with national 2nd Annual Guildhall School a distinguished and lengthy career in authorities US Alumni Reunion, New York business, beginning as a Director of before becoming a senior private sector Carmo Holdings in 1947, moving on consultant with Brunswick Group. as Chairman and Managing Director According to The Independent he Coming Up of Sears Holdings motor group, Sears “was the éminence grise of invisible Drama (Acting and SMTT) Finance, C & W Walker Holdings networking. He operated as a benign classes of 2007 & 2008 Ltd, H. P. Information PLC, Motor Cardinal Richelieu in the world of the Agents Association, and Pre-Divisional arts, in a career that spanned Acting & Technical Theatre Investments Ltd. journalism, government service and classes of 1985, Damn public relations.” Yankees Reunion He was appointed Chairman of the Motor Industry Working Party, producing In his working life, Ewen went from the Drama Performers Course the Altman report on recruitment and Central Office of Information to the Arts class of 1969, 40th training in 1968. He was a member of a Ministry (via the Foreign Office), then to Anniversary number of City of London committees the top PR roles at the British Museum, GGSM class of 1983, 30 years and was made a Freeman of the City the Royal Opera House, the Japan since beginning the course of London in 1973 and a CBE in 1979. Festival and the Royal Philharmonic He had a lifelong interest in the arts, Orchestra. At Brunswick Group from If you would like further particularly opera and theatre, and was 1993, Ewen advised corporate clients information about any of made a Fellow of the Guildhall School at on arts sponsorship while helping arts the above, or are planning a graduation in October 2008. organisations to find suitable partners. reunion that is not listed, please A concert performed by the orchestras To the Guildhall School he was a loyal contact the Alumni Office. of the Guildhall School on 25 February supporter and advocate who served was dedicated to Lionel’s memory and his on the Board of Governors and the many years of support for the School. Guildhall School Trust for many years.

A much admired The Opera Department was particularly and enormously sad to hear of the untimely death of well-liked actor on David-Alexandre Borloz (Opera stage and screen, 2005) who died in his sleep on 19th John Axon October 2008, aged just 32 years. (Acting 1986) was a familiar face At the time David was touring in the as Nigel Harper role of Falstaff for Pimlico Opera, who on Yorkshire wrote in a statement: “David-Alexandre TV’s medical was an extremely accomplished artist drama series The Royal. His untimely death with a natural stage presence and an from a heart attack, aged 48, has robbed exceptional baritone voice which was television audiences of a scene-stealing both beautiful and powerful. He was talent for bluff characterisation and comic already in considerable demand and his bemusement. career was on a steep upward incline. He was a very popular colleague and will be John’s agent Tim Scott paid tribute to greatly missed by the opera profession.” him, saying: “Aside from being really talented, he was a really funny, jovial man who always had a smile on his face. No-one ever had a bad word to say about him.”

26 GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 Penelope Carlos née Fuelling (Speech & Pianist and orchestral and chamber music player. Drama 1954) passed away on 7 February, conductor Alan Cello professor at the School for over 35 in her 75th year. A graduate of the Hazeldine years, his students have been principals Guildhall School, culture and the arts was conducting of many British and foreign orchestras, were always an important part of her life. professor for winners of all the School’s cello prizes and three Gold Medal finalists. Penny was passionate about amateur many years at the community theatre and the driving force Guildhall School. Leonard was also very interested in local groups like The Milton Players The final concert of in history and politics and regularly and Cypress Lake Theatre Group in the 2008 autumn contributed to The Guardian’s Lakeland, Florida. She was a devoted term, Mozart’s Requiem, was dedicated to teacher for 35 years in the private and commentisfree pages online, where Alan, who died on 10 November aged 60. public school systems. She continued he was described as “a generous commenter and a civilised one”. her education and obtained her Masters Alessandro Timossi, Head of Music Degree in 1981. Programmes at the School, wrote: In the words of one of his former Throughout her life Penny was committed “Alan was an intense and passionate students, Glenis Malkin, “Len’s passing to enriching the lives of her students musician, for whom simplicity and clarity marks the end of an era at the Guildhall through musical theatre and drama, and were at the core of musical expression. He School of Music & Drama. His spirit, inspiring them to become readers through had a kind and warm personality, with a sense of what was right, love of all things her own love of great literature. great sense of elegance and style. He was a cello, quick wit and great intelligence colleague whose advice and support were combined with the pure excitement to Ian Carr, who always honest and sensitive. The School is have talented young players around him was Professor of deeply grateful for the effort and patience never faded”. Jazz at the School that Alan showed in over three decades of from 1982 until teaching and we offer our condolences to recently, died Andrew Tansley taught on the Stage on 25 February. his family and at this sad time.” Management and Technical Theatre As well as a course at the Guildhall School for a teacher Ian was relatively short period of time, but in that Pamela Littman was one of the also a performer, time he made a lasting impression on his School’s most loyal audience members, composer, author, students, several of whom were able to regularly attending two or three broadcaster, critic attend his memorial last autumn. and biographer. performances in a week. Throughout her He had been at the School since the start illness, Pamela’s love of music and drama He left the Guildhall School to set up a of the postgraduate Jazz course and was and her enthusiasm for young performers new Stage Management course in Hong instrumental in its success. brought her into the School whenever Kong, before being coaxed back to the The Times said “Few figures in British she was able to attend – sometimes only UK by Barry Worthing-Smith of Tussauds jazz have matched great musical abilities a few hours after a hospital appointment. Group in 1986. In the early 1990s he was with a proselytising zeal for the music as made a Director of the company, taking effectively as Ian Carr.” A generous donor to the scholarship on responsibility for the Wax Museums fund at the Guildhall School, Pamela also in London, Amsterdam and Windsor. By The Telegraph wrote “Although an supported other arts charities including the time he left Tussaud’s in 2000 he had approachable and jovial man, he had a Young Concert Artists Trust, CA VATINA been instrumental in making it the global well-deserved reputation for intellectual Chamber Music Trust and Pro Corda. brand it is today. rigour and unbending critical standards.”

Martin Hathaway, Head of Jazz, described As a former colleague of Andrew’s wrote, him as “an inspiration to all who came First a student and later a professor and most will remember him for his capability, into his orbit”. Fellow of the Guildhall School, Leonard resilience and sense of humour. Stehn was a widely experienced

Guildhall School of Guildhall School News Photo Credits Music & Drama Email: [email protected] Nobby Clark, Sarah Drake, Silk Street Alumni Office Nina Large, Helen Maybanks, Barbican Email: [email protected] Clive Totman, Melanie Winning, London EC2Y 8DT Tel: +44 (0)20 7382 2325 Yorkshire TV Tel: +44 (0)20 7628 2571 Development Office Fax: +44 (0)20 7256 9438 Email: [email protected] www.gsmd.ac.uk Tel: +44 (0)20 7382 7179

GUILDHALL SCHOOL NEWS • SPRING/SUMMER 2009 27 Want to know what’s happening at the Guildhall School before anyone else? Join the Guildhall Circle

For a donation of £30 a year or more you will receive:

• Advance copies of the Guildhall School events guides detailing all operas, plays, musicals, concerts and recitals

• Priority season booking for all major performances requiring tickets (marked with a GC )

• Priority annual booking for all opera productions (members at ‘Supporter’ level and above)

• Invitations to exclusive Guildhall Circle events such as the Season Opener on Thursday 1 October 2009.

In addition, your donation will provide vital support for students at the Guildhall School of Music & Drama. For further information pick up a leaflet in the School, visit our website at www.gsmd.ac.uk, email us at [email protected] or call Jenny Beer in the Development Office on 020 7382 7179.

The Guildhall School Trust, Registered Charity No. 1082472

Guildhall Summer Gala Tuesday 7 July 2009

We are delighted to invite you to join us for our annual Summer Gala, held in the Barbican’s beautiful Conservatory and Garden Room. 5.30pm: Drinks reception Conservatory, Barbican 5.45pm: Supper For further information Garden Room, Barbican or to book tickets, please contact: 7.30pm: Damn Yankees performance Rachel Davis: Silk Street Theatre, Guildhall School 020 7382 7157 [email protected] Tickets: £65 per person or Includes drinks reception, two-course supper with wine, entry to the Jenny Beer: performance of Damn Yankees and a performance programme. 020 7382 7179 All proceeds will go towards the School’s Scholarships Fund. [email protected]

Music & lyrics by Richard Adler & Jerry Ross Book by George Abbott & Douglass Wallop The Guildhall School Damn of Music & Drama is provided by the City of Yankees London Corporation

The Guildhall School Trust is a Registered Charity No. 1082472