Guildhall School prospectus

Guildhall School Guidefor prospective students

Acting | Music | Technical Theatre

www.gsmd.ac.uk

Prepare for Peak Performance...

2 To find out more visit www.gsmd.ac.uk

This guide was published in May 2012 and is intended to provide general information only concerning

the Guildhall School of Music & Drama. Full and up-to-date details on all programmes and services are

available on the School’s website: www.gsmd.ac.uk

The School aims to promote equality of opportunity through educational provision so that no student or

prospective student receives less favourable treatment than another on the grounds of age, gender, marital

status, colour, ethnic origin, sexual orientation, disability, political or religious belief.

3

Music p26

www.gsmd.ac.uk/music

Technical Theatre p60

www.gsmd.ac.uk/technical_theatre

Acting p10

www.gsmd.ac.uk/acting


Distinctive excellence...The modern Guildhall School is distinctive in being the only major European

conservatoire which is both a music school and a drama school, and one which is

pre-eminent in technical theatre, professional development and music therapy.

The reputation of the teaching, and increasingly the research, across all disciplines

in the School is unrivalled. Students experience working in a professional context to

professional standards with an exemplary pool of outstanding artists who work with

us as directors, conductors, coaches and tutors. The School’s alumni consistently

succeed at the highest levels of their chosen profession.

New or recently refurbished state-of-the-art facilities, including two concert halls,

three theatres, spacious practice, teaching and living spaces, support and enhance

the unique Guildhall experience.

For over 130 years, the Guildhall School has stood as a vibrant showcase of the

City of London’s commitment to education and the arts. Situated in the heart of

the City, the School moved to its present premises in the Barbican in 1977, solidifying

a unique link with both Europe’s largest arts and conference centre, including the

Barbican Hall and the Pit Theatre, and the world-class London Symphony Orchestra:

an alliance now recognised as a leading international centre for performance,

training and education in the performing and visual arts.

5To find out more visit www.gsmd.ac.uk

The Guildhall School’s Campus is London and beyond...The Guildhall School enjoys a location

in the very heart of one of the most

exciting cities in the world. Make

the most of your training by taking

advantage of the wealth of opportunities

surrounding you.

Next door to the Silk Street building

is the Barbican Arts Centre with its

theatres, cinemas, concert hall, library

and art gallery, home to such institutions

as the London Symphony Orchestra

and the BBC Symphony Orchestra. The

Guildhall School is also within easy

distance of the West End theatres, the

Royal Festival Hall, National Theatre on

the South Bank, the Globe Theatre, Tate

Modern and all the major galleries.

There is an abundance of free

entertainment on offer in London and,

as a student, you are entitled to

concessions on virtually all entertainment

tickets, plus discounts in many shops and

restaurants as well as major exclusive

discounts on important items such as

Tube and bus travel.

You are a short train-ride or flight away

from Europe and all the riches of those

continental cities.

The Guildhall School comprises

approximately 366,000 square feet over

four neighbouring buildings which are

continually updated and enhanced. From

2013, the School will boast five major

public performance venues equipped to

showcase the work of its students.


Exciting new facilitiesThe Silk Street building was purpose-built

in 1977 and is attached to the Barbican

Centre. Facilities in this venue include a

196-seat Music Hall, 80-seat Lecture Recital

Room, and a 308-seat Theatre, all of which

are open to the public. In addition, there is a

Studio Theatre, 41 teaching/practice rooms,

electronic music studios, recording and sound

studios, the Students’ Common Room and

IT facilities.

Milton Court, which opens in 2013, is

virtually across the road from the Silk Street

building. It will house additional world-class

performance facilities: a 608-seat concert

hall, a 227-seat training theatre, a studio

theatre, 3 major rehearsal rooms, a TV studio

suite, and space for teaching, office and

support services.

All the spaces in Milton Court have been

built to exceptionally high specifications and

utilise state-of-the-art, professional standard

technical facilities.

‘The location of the School within the City of London and being close to

London’s thriving theatre life (not least, through our ties with the Barbican

Centre) is a great advantage, especially as an international student looking

to begin my career in the UK.’Karin Singh, BA Technical Theatre Arts



Life at the Guildhall School

Student AffairsThe Student Affairs team is committed to the

general well-being of the students and in helping

them fulfil their potential during their time at the

School. It provides a supportive environment to assist

students in making the most of their student life and

offers a valued and comprehensive range of support

services designed to meet their academic and welfare

needs. Services include provision of counselling

support, health and welfare advice, physiotherapy,

disability support (including learning support for

dyslexic students), English for speakers of other

languages, financial advice, accommodation and

international student support. The office is situated in

the School’s hall of residence, Sundial Court.

LibraryThe Library aims to provide students with a comfortable,

supportive and welcoming environment. Its staff all

have a specialist knowledge of, and an interest in, music

or drama. Lending facilities include books on music,

theatre, drama criticism, stagecraft, costume, and

music therapy. There is also a comprehensive collection

of plays, poetry, scores, sets of chamber music parts,

and CD and DVDs. E-resources including New Grove

Online, RILM, RISM, RIPM, Music Index, the Performing

Arts Online, Credo Reference, JSTOR, the Encyclopedia

Britannica and the Catalogue of Printed Music are also

available for searching. The Guildhall School was the

first conservatoire in the UK to offer its students and

staff access to both Naxos and Classical Music Library

web-streaming services, via state-of-the-art audio

terminals in the Library.


IT FacilitiesThe School’s Information Technology department’s

core purpose is to provide up-to-date and reliable

computing resources, empowering the Guildhall

School community to make effective use of

technologies. The main IT area in the Students’

Common Room provides a number of PCs and A3

colour printer-photocopiers for use by students, all of

which are linked to the School’s file and mail servers.

Additional facilities are also available throughout the

School. Wireless access points are situated around the

School and there is a wired network in the Sundial

Court hall of residence.

Studio ResourcesThe Guildhall School’s recording studio incorporates

an advanced industry standard Pro Tools recording

and production system, complemented by a

comprehensive microphone collection. The studio

itself houses a Steinway B piano recently refurbished

and specially voiced for the studio, and can

accommodate small to medium-sized chamber,

jazz and contemporary ensembles. It is used for

workshops, demo sessions, portfolio recordings, radio

drama work and CD production to fully professional

standards. There is also provision for producing

demo DVDs, both in the recording studio and in the

performance spaces.

Students’ UnionThe Guildhall School Students’ Union actively

represents students throughout their time at the

School. Led by a full-time President, elected annually,

the Union acts as a channel of communication

between the student and staff bodies. In addition,

the Union acts as a point of contact between

students and relevant external bodies. From its

office in the School, the Union offers advice on

a wide range of topics, and can provide useful

information on the Guildhall, its surrounding area,

and student life.

AccommodationSundial Court, the School’s hall of residence, is

located in Chiswell Street, just around the corner

from the main Silk Street building. Sundial Court

has 177 bedrooms in thirty-nine flats, each with

either three, four, five or six bedrooms.

Local amenities, including supermarkets, bars,

restaurants and sports facilities are all within easy

walking distance. Two underground stations are

within minutes of the residence. Underneath the

accommodation is the Basement, which houses the

School Bar, a self-serve laundry, practice rooms and

a communal television room.

Security is provided 24 hours per day, 7 days per week.

With only 177 rooms, it is not possible to offer a

place at Sundial Court to every student. However,

every attempt is made to provide accommodation for

first year undergraduate students. All those offered a

place at the Guildhall School are welcome to apply.

Further information on halls of residence, hostels

and external accommodation, including details of

private lodgings, rooms to rent in shared houses

and details of local letting agencies, may be obtained

from the Student Life Officer.

Full details about Sundial Court and external

accommodation options will be sent out to

students once they have been offered a place at

the Guildhall School.

Sundial Court


Acting The Guildhall School is a lively, friendly community of actors, theatre technicians and musicians; the Acting Department itself is intimate and supportive.

The training programmes are highly regarded in the

acting profession for the thoroughness of their

audition processes, the passion, quality and rigour

of the teaching, the emphasis on the integration of

craft training, the care and attention for the individual

development of each student, and the strong ensemble

ethic shared by staff and students.

The main programme is the BA Honours Degree

in Acting. This well-established programme has a

distinguished list of graduates, especially in recent

years (see page 20).

There is also a full-time three-year MA in Acting

programme, specifically designed for students who

already hold an undergraduate degree and wish to

have a full, professional training in acting. They work

alongside students on the BA in Acting programme,

with additional assignments appropriate to a Master’s

programme.

In addition, the MA in Training Actors (Voice) or

(Movement) is available. This is a two-year, part-time

programme designed to train a small cohort

of voice and movement teachers to work in the

acting profession.

The School has excellent performance facilities.

Productions take place in its 308-seat theatre. The

Drama Department also arranges performances

at other London theatres, including the Pit at the

Barbican Centre, the Bridewell (off Fleet Street),

the Soho Theatre, the Comedy Theatre, the Swan

(Stratford) and the Royal Court. From 2013, two

new additional theatres at Milton Court, the School’s

new building, will be available exclusively for drama

productions.

The Department also runs two Drama Summer

Schools: Acting in Shakespeare and Contemporary

Theatre, and Acting in Musical Theatre. Each course is

three weeks in duration.

The School is a partner in École des Écoles, a

confederation of all the major European drama

schools and is a co-organiser of Prima del Teatro, a

3-week international festival of acting workshops

which takes place in Italy every summer.

‘I had a great time at Guildhall and my training set me in really good stead as an actor.’Ewan McGregor, Acting 1992

‘The course is intense and demanding but so exciting. The

teachers are absolutely world-class – they have a wealth of experience and

skill to draw upon.’Paapa Essiedu, BA Acting



BA (Honours) Degree in ActingMA in ActingThe acting programmes are for those who

intend to become professional actors. They offer

intensive vocational training in the practical

craft of acting and are different in structure and

approach from most university programmes in

Drama or Performing Arts.

Both programmes lay the foundation for a lifetime

development in the art and profession of acting. They

aim to produce actors who are flexible and versatile,

able to move with confidence between classical and

modern theatre, film, television and radio.

There is a generous staff-student ratio, an enormous

number of contact hours and a very low drop-out rate.

During their training students are able to work with

many teachers and directors. Staff are chosen to

complement and contrast with each other; their

approaches may vary but they share a common

purpose. Together they help each actor and each

group to define, develop and use the processes which

are most useful to them.

All the teaching and directing staff have extensive

experience of professional theatre, film, television or

radio, as directors, actors and teachers. They work

as a strongly committed team, while maintaining

regular contact with the profession. Some work in

the theatre, including the National Theatre, the Royal

Shakespeare Company, Shakespeare’s Globe and the

West End. Some work in film, television and radio.

Many work internationally, and guest teachers from

abroad are sometimes invited to work here.

Biographies of some of the teachers are available on

the School’s website: www.gsmd.ac.uk/acting

Graduates from the programmes have an excellent

record of professional work (see pages 19 to 22).

Key Facts • 3 years (full-time)

• 26 students in each year (78 students across the programmes)

• 30 part-time and full-time staff, plus visiting directors

• 2,300 applications/26 places

Applicants are advised to apply as early

as possible.

The programmes are constantly evolving, merging the

traditions of a classical training with the demands of the

profession in the twenty-first century.

Good actors must have the means, the intelligence

and the need to communicate their understanding of

life to an audience. Through all areas of the training

we encourage our students to be enquiring artists

who can develop their own ideas and communicate

them through whatever material they are offered.

We have a strong belief in individual actors working to

strength within the context of an ensemble. We work

in a collaborative atmosphere and encourage actors

to connect emotion, intellect, spirituality and physical

skills in all that they do.


BA (Hons) in Acting Years 1 and 2 The first two years are training years, when you

concentrate on acquiring the skills you need as

professional actors. The time is divided between

classwork and rehearsal projects when you work on

a play text, applying the skills learnt in class to a wide

variety of plays, as well as radio and TV work. Both

classwork and rehearsal projects focus on developing

and integrating four main areas of study: acting,

voice, movement and playtexts.

Acting studies include stagecraft, improvisation,

games and story-telling, mime, circus and physical

theatre. As the training progresses, classes in radio

and television work are added, using the School’s

own equipment and radio studio.

Voice studies cover voice and speech classes, poetry

and prose, singing, phonetics, dialects and a great

deal of work on language, including Shakespeare.

Movement studies cover pure movement, movement

improvisation (including animal studies and mask

work), period dance and 20th-century dance,

showdance, acrobatics and stage combat.

Theatre background introduces a wide range of plays

in their historical context.

Year 3 By the third year, you should be technically proficient

vocally and physically, and have developed your

own working processes. Most of your time is

spent rehearsing and performing to the public and

to potential employers. You usually work on six

productions, playing a wide variety of roles in plays of

varying styles, working with several different directors.

There are also sessions to prepare you for the acting

profession, as well as audition showcases regularly

attended by agents, theatre and casting directors.

MA in ActingThis is a three-year full-time programme designed

for students who hold a university degree and wish

to have a full professional training in acting. The

MA students work in the same classes, rehearsals

and performances as the students on the three-year

BA in Acting with additional tutorials in support of

achieving the Master’s level outcomes. Entrance is

by audition. At the point of audition, no distinction

is made between applicants to the BA and the MA.

Once a graduate applicant has received an offer, he

or she can opt to follow either the MA or the BA

programme. There are normally over 2,300 applicants

for a total of about 26 places on the combined

programmes.

MA students have the same practical training as

the BA students. They take additional modules

developing their critical and reflective skills and

are required to achieve more demanding learning

outcomes and a higher standard overall.

For a summary of these programmes, please see the website: www.gsmd.ac.uk/acting

‘Right from the audition, the tutors led me to trust that my craft and

creativity would be nurtured here. The knowledge and techniques I have learnt at Guildhall will allow me to tackle any

role with conviction and truth.’Kae Yukawa, BA Acting



Recent drama productionsSummer 2012 • Chaplin (musical) (music by Roger Anderson,

lyrics by Lee Goldsmith, book by Ernest Kinoy) dir. Martin Connor

• Lysistrata (Aristophanes) dir. Owen Horsley

Spring 2012 • The Life & Adventures of Nicholas Nickleby

Part One (adapted by David Edgar from the novel by Charles Dickens) dir. Joseph Blatchley

• Jenufa (adapted by Timberlake Wertenbaker from the play Her Stepdaughter by Gabriela Preissová) dir. Sue Lefton

• Les Liaisons Dangereuses (adapted by Christopher Hampton from the novel by Choderlos de Laclos) dir. Nick Bagnall

Autumn 2011• …think only this of me… (devised)

dir. Christian Burgess

• Aces & Jacks (short plays by David Mamet) dir. Nadia Fall

• The Women (Clare Boothe Luce) dir. Wyn Jones

Summer 2011 • Kiss Me Kate (musical) (music & lyrics by Cole Porter,

book by Sam & Bella Spewak) dir. Martin Connor

• Richard III (William Shakespeare) dir. Patsy Rodenburg

Spring 2011 • The House of Atreus (adapted by Paul O’Mahony

and Richard Twyman) dir. Richard Twyman

• The Blue Room (freely adapted from Arthur Schnitzler by David Hare) dir. Tom Daley

• Dear Brutus (Sir James Barrie) dir. Wyn Jones

Autumn 2010• Badenheim 1939 (adapted by Arnold Wesker

from the novel by Aharon Appelfeld) dir. Christian Burgess

• DNA (Dennis Kelly) dir. Owen Lewis

• Festen (by David Eldridge after the DOGME film by Thomas Vinterberg, Mogens Rukov and Bohr Hansen) dir. Joseph Blatchley

Summer 2010 • Curtains (musical) (music by John Kander, lyrics

by Fred Ebb, book by Rupert Holmes, original book and concept by Peter Stone) dir. Martin Connor

• Summerfolk (Maxim Gorky/Nick Dear) dir. Owen Lewis

Spring 2010 • Tonight at 8.30 (Noël Coward) dir. Wyn Jones

• When Five Years Pass (Federico Garcia Lorca) dir. Roberto Romei

• Six Characters Looking for an Author (Luigi Pirandello/David Harrower) dir. Joseph Blatchley

Autumn 2009 • A Midsummer Night’s Dream (William

Shakespeare) dir. Douglas Rintoul

• Tipping the Velvet (by Amanda Whittington based on the novel by Sarah Waters) dir. Katharine Rogers

• Don Juan in Soho (by Patrick Marber, after Molière) dir. Christian Burgess

Summer 2009 • Damn Yankees (musical) (music & lyrics by

Richard Adler & Jerry Ross, book by George Abbott & Douglass Wallop) dir. Martin Connor

• The Man Who (Peter Brook and Marie Hélène Estienne) dir. Owen Lewis

Spring 2009 • Two Shakespearean Actors (Richard Nelson)

dir. Douglas Rintoul

• Hard Times (Charles Dickens/Stephen Jeffreys) dir. Wyn Jones

• Unfinished Piece for Mechanical Piano (Alexandr Adabashian & Nikita Mikhalkov, based on Chekhov) dir. Joseph Blatchley

Autumn 2008 • Julius Caesar (William Shakespeare)

dir. Richard Twyman

• Lord of the Flies (William Golding/Nigel Williams) dir. Katharine Rogers

• Stanley (Pam Gems) dir. Christian Burgess


Joining the Acting Profession

Preparing for the Profession In your final year you are given clear guidance on

starting in the acting profession. There are regular

talks, workshops and visits by regional theatre

directors, agents, casting directors, income tax

advisers and representatives from Equity (see below).

Actors and actresses currently working in the

profession are involved as tutors in your final year,

advising you on preparation for the profession.

Audition showcases During the final year you prepare showcases of

modern and classical speeches and scenes, which

are attended by a large number of agents, directors

and casting directors.

Equity membership Students who have the right to work in this country

are eligible to become student members of British

Actors’ Equity, the actors’ trade union, and will

automatically be granted full membership on

completion of their training.

After training After graduating, some former students have

started their own theatre companies, others are

playing leading roles in the West End, at the Royal

Shakespeare Company, the National Theatre and

in regional theatres. Others feature in films and

television dramas.

See the website for biographies of some of our graduates.

Through its close contacts with the profession the

Drama Department is frequently able to recommend

former students for specific work, and staff members

are available to give advice.


Recent graduates’ workCompany graduated July 2010 Tom Byam ShawMichael in Les Parents Terribles dir. Chris Rolls (Trafalgar Studios)

Sophie ColquhounBonnie in Captain America: The First Avenger dir. Joe Johnston (Marvel Entertainment, film)

Sinead in Dusters dir. Christopher Baines (short film)

Pip in Rev dir. Peter Cattaneo (BBC2 Big Talk Productions)

Nikki in The IT Crowd dir. Graham Lineham (Channel 4 talkbackTHAMES)

Jana in Thrills (BBC3 in progress)

Verity Jane DearsleyPrincess Sophie Al Wahiri in Casualty (BBC)

Terry DoeHead Waiter in Racing Demon dir. Daniel Evans (Sheffield Crucible)

Don Juan in Me & Juliet dir. Thom Southerland (Finborough Theatre)

Isabel EllisonJana in Red Bud dir. Jo McInnes (Royal Court)

Catherine in The Children’s Hour dir. Ian Rickson (Comedy)

Freddie FoxKing Louis XIII in The Three Musketeers dir. Paul WS Anderson (film)

Head Boy in St Trinians II: The Legend Of Frittons Gold dir. Oliver Parker/Barnaby Thompson (film)

Tony Davenport in Cause Célèbre dir. Thea Sharrock (The Old Vic)

Camille Chandebise in A Flea In Her Ear dir. Richard Eyre (The Old Vic)

Jamie in The Last 5 Years: The Musical dir. Christian Burgess (Barbican)

Ratallack in The Shadow Line dir. Hugo Blick (BBC)

Guy Thomas in This September dir. Giles Foster

Peter Scabius in Any Human Heart dir. Michael Samuels (Channel 4)

Marilyn in Worried About The Boy dir. Julian Jarrold (BBC)

Tom Savage in Miss Marple: Why Didn’t They Ask Evans dir. Nick Renton (ITV)

Henry GilbertUK tour of Charley’s Aunt (Finborough Acting Ensemble)

Lily JamesKorrina in Clash of the Titans II dir. Jonathan Liebesman (film)

Ella/Taylor in Vernon God Little dir. Ruffus Norris (The Young Vic)

Poppy in Secret Diary of a Call Girl dir. Sam Donovan, Alex Garcia and Wayne Yip (Tiger Aspect ITV)

Ethel in Just William dir. Paul Seed (BBC)

Fred LancasterJack Thayer in Titanic: Steele vs Nature dir. Richard Dale (Dangerous Productions, film)

Jack in Silent Night dir. Helen Broughton (Theatre 503)

Will in The Quicken Tree dir. Catrin Evans (Royal Botanic Garden Edinburgh)

Caleb in Secret Diary of a Call Girl dir. Alex Garcia & Wayne Yip (Tiger Aspect)

Harry Lister SmithCornelius in Hamlet dir. Paul Miller (Sheffield Crucible)

E20 dir. Michael Keillor (BBC)

Patrick OsborneDomenico in The Borgias dir. Simon Cellan Jones (Showtime/Sky Atlantic)

Ian in Accolade dir. Blanche McIntyre (Finborough Theatre)

Devil in The Soldier’s Tale conductor Martyn Brabbins (Barbican Concert Hall)

The Mobius Strip written and performed by Patrick Osborne (Branoul Theatre, The Hague)

Nikesh PatelRoss in Disconnect dir. Indhu Rubasingham (Royal Court)

Macbeth dir. Michael Boyd, The Merchant of Venice dir. Rupert Goold and The Taming of the Shrew dir. Tim Crouch (RSC)

Mark StanleyGrimaldi in ‘Tis Pity She’s a Whore dir. Jonathan Munby (West Yorkshire Playhouse)

Grenn in Game of Thrones dir. Brian Kirk, Alan Taylor (HBO)

Recruit Standon in Captain America: The First Avenger dir. Joe Johnston (Marvel Entertainment, film)

Amy StrangeLaw and Order dir. Julian Holmes (Kudos for ITV)

Casualty dir. Rebecca Gatward (BBC)

Marene VanholkSilent Witness (BBC)

Eleanor WyldReceptionist in Johnny English Reborn dir. Oliver Parker (Working Title, film)

Marie in The Manual dir. Darren Paul Fisher (Britpack Films)

Anne in The Deep Blue Sea dir. Sarah Esdaile (West Yorkshire Playhouse)

Katy in Casualty dir. Declan Eames (BBC)

Ashley ZhangazhaKing of France in King Lear (Donmar Warehouse/UK Tour/BAM, New York) dir. Michael Grandage

Legendre in Danton’s Death (National Theatre) dir. Michael Grandage

Workshop on Phaedra’s Love (National Theatre Studio)


Acting graduates include

Naveen Andrews 1990

Hayley Atwell 2005

Orlando Bloom 1999

Stephen Campbell Moore 1999

Daniel Craig 1991

Oliver Dimsdale 1999

Michelle Dockery 2004

Adrian Dunbar 1983

Daniel Evans 1994

Joseph Fiennes 1993

Mariah Gale 2003

Shirley Henderson 1986

Jocelyn Jee Esien 1997

Rhys Ifans 1989

Lennie James 1988

Natasha Little 1994

Scott Maslen 1998

Alistair McGowan 1989

Ewan McGregor 1992

Neil Morrissey 1983

Fay Ripley 1990

Clive Rowe 1987

Simon Russell Beale CBE 1983

Lesley Sharp 1982

Geraldine Somerville 1989

David Thewlis 1984

Dominic West 1995

Jodie Whittaker 2005

Recent awardsBAFTA Awards Alfred Molina – nominated for Best Supporting Actor in An Education, 2009

Jocelyn Jee Esien – nominated for Best Comedy Performance for Little Miss Jocelyn, 2007

Daniel Craig – nominated for Best Actor in Casino Royale, 2007

Critics’ Circle Awards Alfred Molina – nominated for Best Actor in a Supporting Role in An Education, 2010

Evening Standard Awards Ewan McGregor – nominated for Best Actor for The Ghost, 2011

David Thewlis – nominated for the Peter Sellers Comedy Award for his performance in London Boulevard, 2011

Lesley Sharp – nominated for Best Actress for Harper Regan at the National Theatre Cottesloe, 2008

Michelle Dockery – nominated for The Milton Shulman Award for Outstanding Newcomer for Pygmalion at the Old Vic, 2008

Lex Shrapnel – nominated for The Milton Shulman Award for Outstanding Newcomer for Henry IV part I, RSC at the Roundhouse, 2008

Daniel Craig – winner of Best Actor for Casino Royale, 2007

British Independent Film Awards Hayley Atwell – nominated for Best Supporting Actress for The Duchess, 2008

David Thewlis – winner of the Richard Harris Award for Outstanding Contribution to British Film, 2008

Fox Foundation Jonathan Broadbent – in association with Bristol Old Vic, 2006

Golden Globe Awards Hayley Atwell – nominated for Best Performance by an Actress in a Mini-series or Motion Picture Made for Television for Pillars of the Earth, 2011

Naveen Andrews – nominated for Best Performance by an Actor in a Supporting Role in a Series, Mini–Series or Motion Picture Made for Television for Lost, 2006


‘ I knew I wanted to go to Guildhall the minute I walked down the corridor – there was something about the students, tutors and the whole atmosphere. Getting in was like winning the lottery.’Michelle Dockery, Acting 2004


Ian Charleson Award Natalie Dew – winner of 3rd prize for Celia in As You Like It (Curve, Leicester), 2011

Mariah Gale – Special Commendation for Celia in As You Like It (RSC, Courtyard, Stratford), 2011

Max Irons – nominated for Max Piccolomini in Wallenstein (Minerva, Chichester), 2011

Henry Pettigrew – nominated for Marcellus/Second Gravedigger in Hamlet (Donmar at Wyndham’s), 2011

Gwilym Lee – commendation for Oedipus (NT), 2009

Natalie Dew – nominated for Viola in Twelfth Night (Regent’s Park), 2008

Olivier Awards Andy Nyman – nominated for Best Entertainment, co-writer Ghost Stories at Duke of York’s Theatre, 2011

Andy Nyman – nominated for Best Entertainment for Derren Brown: Enigma written by Derren Brown and Andy Nyman (Adelphi Theatre), 2010

Alexander Hanson – nominated for Best Performance in a Supporting Role for Marguerite at the Theatre Royal Haymarket, 2008

Clive Rowe – nominated for Outstanding Achievement in an Affiliate Theatre for his performance in Mother Goose at Hackney Empire, 2008

Daniel Evans – Best Actor in a Musical for Sunday in the Park with George, 2007

Danielle Tarento – (Menier Chocolate Factory) – Outstanding Musical Production, 2007

Ewan McGregor – nominated for Best Actor in a Musical for Guys and Dolls, 2006

Tony Awards Daniel Evans – nominated for Best Performance by a Lead Actor in a Musical for Sunday in the Park with George, 2008

Theatregoers’ Choice (Whatsonstage.com) Awards Simon Russell Beale – nominated for Best Actor in a Play for Deathtrap (Noël Coward) and London Assurance (NT), 2011

Stephen Campbell Moore – nominated for Best Supporting Actor in a Play for All My Sons (Apollo), 2011

Lesley Sharp – nominated for Best Actress in a Play in The Rise & Fall of Little Voice at the Vaudeville, 2010

Dominic West – nominated for Best Actor in a Play in Life is a Dream at the Donmar Warehouse, 2010

Hayley Atwell – nominated for Best Supporting Actress in a Play in A View from the Bridge at the Duke of York’s, 2010

Michelle Dockery – nominated for Best Supporting Actress in a Play in Burnt by the Sun at NT Lyttelton, 2010

Alexander Hanson – nominated for The Best Actor in a Musical in A Little Night Music at Menier Chocolate Factory & Garrick, 2010

Alistair McGowan – nominated for The Waldorf Best New Comedy (Writing) for Timing at the King’s Head, 2010

Lesley Sharp – nominated for The Spotlight Best Actress in a Play in Harper Regan at NT Cottesloe, 2009

Alexander Hanson – nominated for Best Supporting Actor in a Musical in Marguerite at the Theatre Royal Haymarket, 2009

Daniel Evans – nominated for Best Actor in a Musical for Sunday in the Park with George, 2007

Alexander Hanson – nominated for Best Actor in a Musical for The Sound of Music, 2007

Clive Rowe – nominated for Best Supporting Actor in a Musical for Caroline, or Change (NT), 2007

Danielle Tarento (Menier Chocolate Factory) – Best Off-West End Production for Sunday in the Park with George, 2007; Best Off-West End Production for Fully Committed, 2006


Applying for the Acting programmesStudents from a wide range of ages and

backgrounds are selected on merit by audition.

It is not necessary to have any previous acting

experience.

You should normally be at least 18 years old when

you begin your training. Most students are a few

years older. There is no upper age limit.

Please see www.gsmd.ac.uk/acting for details of how to apply, and our audition process. You are advised to apply as early as possible.

‘Throughout the audition process I felt excited, creatively challenged and ultimately inspired; and so far the course has done all that and more!’Nathalie Buscombe, MA Acting

MA in Training Actors (Voice) or (Movement) This programme is designed to train voice and

movement teachers to work in the acting profession.

It is a two-year part-time course, led by Patsy

Rodenburg (Head of Voice) and Wendy Allnutt (Head

of Movement), in association with professional

theatre companies and leading drama schools.

Drawing on a long tradition of actor-training in the

UK and abroad, this programme aims to develop a

new generation of theatre craft teachers to work

with actors in training and in the profession. A

maximum of four students (two for Voice and two

for Movement) is enrolled, each able to develop

their knowledge and skills under close guidance.

Students enjoy close links with the Acting Programme

and with the professional theatre. At the core of

the programme is intensive observation of actors

in training. Contact time is approximately 20 hours

per week, but it is not possible to predict in advance

when these hours will be. Students should, therefore,

have considerable flexibility in their arrangements to

be able to gain the most from the programme.

Observation of classes and rehearsals is supported

by seminars and tutorials; research; development of

the student’s own knowledge and skills; placement

in a major theatre company and/or drama school.

Students specialise in either Voice or Movement

throughout the course. They follow an integrated

modular programme, with emphasis on their chosen

discipline within each module.

Please visit www.gsmd.ac.uk/acting for further details of this programme, and how to apply.

‘Guildhall offers a course unlike any other drama school

with one-to-one tuition, support, and unique

training which enables you to accomplish the career that you dream

of achieving.’Charlie Morgan, MA in Training

Actors (Movement)


StaffDirector of Drama

Christian Burgess AGSM FGS

Director of Acting

Wyn Jones FGS

Head of Acting Studies

Martin Connor FGS

Head of Voice

Patsy Rodenburg OBE FGS

Head of Movement

Wendy Allnutt DipCSSD FGS

Head of Academic Studies (Drama)

Eliot Shrimpton BA MA (Cantab)

Director of Creative Learning

Sean Gregory MPhil BA(Hons) FGS LGSM (PCS)

Core teaching staff:

Diana Devlin – Theatre Background

Kate Godfrey – Voice & Speech

Charmian Hoare – Voice & Speech

Danny McGrath – Movement

Kenneth Rea – Circus & Story-telling

Annemette Verspeak – Voice & Speech

Emma Woodvine – Voice & Speech

For a full list of teaching staff please visit the website: www.gsmd.ac.uk/acting



Music As a music student at the Guildhall School you will be joining a community of young artists at an institution which, for over 130 years, has been recognised for its excellence and innovation in performance training and whose many graduates occupy eminent roles within the profession.

You will work with some of the greatest international artists and renowned teachers in state-of-the-

art facilities situated at the heart of the world’s most culturally vibrant city. You will have unrivalled

opportunities to perform in world-class venues throughout London and beyond.

In addition to developing your own artistic excellence, you will be working within a culture committed

to enquiry and innovation, where time and space are given to experimentation, artistic communication

and the discovery of new ideas.

Your time at the Guildhall School will provide you with the know-how, discipline and energy level

required to achieve artistic excellence; you will be well grounded in both advanced techniques for new

music and historically-informed interpretation, and you will develop clear career objectives together

with the ambition, confidence and drive to achieve them.

‘Guildhall was the only college I auditioned for. With the help and guidance given to me, I was ready to embark on a professional career.’Bryn Terfel, Opera 1989


Studying Music at the Guildhall SchoolOne-to-one principal study lies at the heart of the learning experience at the Guildhall School.

Your individual tuition, underpinned by solo and

chamber coaching, are central to all Guildhall School

programmes. The weekly lesson combined with

chamber/small ensemble coaching sessions are

enhanced by workshops and masterclasses given by

many eminent visiting artists and ensembles.

Collaboration with our immediate neighbours,

the Barbican Centre and the London Symphony

Orchestra, will not only give you year-round access

to international artists, composers and conductors

but also the opportunity to perform in two of

London’s major performance spaces, the Barbican

Hall and LSO St Luke’s.

From 2013, the state-of-the-art venues in the

School’s own Milton Court including a new concert

hall and two theatres will add to the School’s wealth

of dedicated facilities.

Undergraduate A four-year programme leading to a Bachelor

of Music degree with Honours is offered in the

following principal study areas: Strings, Wind,

Brass & Percussion, Keyboard, Vocal Studies,

Composition, Electronic Music, and Jazz.

See page 51 for details.

PostgraduatePostgraduate study options include two Masters

level programmes – the MA in Music Therapy

(see page 48) and the Guildhall Artist Masters

programme (see page 53) – and a broad, practice-

based doctoral research programme (see page 74).

The Guildhall Artist programme has three pathways,

Composition, Leadership and Performance, and

in the Performance pathway students can undertake

one of a number of specialisms:

Advanced Instrumental Studies This specialism is intended for students showing

a high level of ability and musicianship with the

potential for a career as a soloist or in chamber

music. The expectation is that students who take this

pathway come with advanced instrumental ability

and musical understanding and also have a broad

understanding of repertoire for their instrument.

Orchestral Training The Orchestral Training specialism is designed to

develop core musicianship, so that principal study

solo and chamber music are the cornerstones

from which orchestral playing develops. The

programme includes Centre for Orchestra, a unique

collaboration between the Guildhall School, the

London Symphony Orchestra and the Barbican Centre

(see page 58).

Chamber MusicThe Chamber Music specialism is aimed at a small

number of pre-existing groups who wish to hone

their skills and develop their profile. Groups (with a

minimum of three players) receive weekly coachings

with principal study staff and also first preference

for coachings with visiting ensembles and artists

(see page 41).

Opera courseThe Opera course has a very strong reputation and

in 2007 won the Queen’s Anniversary Prize for the

quality of its achievements and its innovative training

programme. It offers advanced training for both vocal

students and repetiteurs and aspires to work at a

professional level over two years full-time.

Performance principal study specialisms are also

available in vocal studies, historical performance,

jazz and piano accompaniment.


‘The Guildhall School is renowned for having a high level of teaching and so it

seemed the best place for me to continue my studies. London is a cosmopolitan

city, so I have the opportunity to experience many different cultures which

help broaden my artistic horizons.’Ella Rundle, BMus Cello


Principal Study

Strings Violin • Viola • Cello • Double Bass • Guitar • Harp • Lute • Viols

Individual lessons and masterclasses • Chamber music • Orchestra • String Ensemble

Principal Study lessons delivered by our eminent string professors are the central focus of study in the String Department. This training is further enhanced by a strong programme of chamber coaching and orchestral training. There are many opportunities to become involved in contemporary music and historically informed performance as well as innovative work in cross-arts performance.

Head of Department

Louise Hopkins FGS AGSM

Deputy Head

Evan Rothstein BM MM DocMus

Assistant Deputy Head

Krzysztof Smietana FGS

Eugène Ysaÿe International Chair of Violin

David Takeno FGS

Head of Chamber Music

Alasdair Tait BMus PPRNCM

Senior Tutor in Strings Chamber Music

Matthew Jones

Historical Performance Studies

See page 40.

Chamber Music Studies

See page 41.

Recent Department Highlights• Masterclasses with Midori, Roman Simovic, Maria

Radicheva, Arni Egilsson, Tabea Zimmerman, Alban Gerhardt, Graham Devine, Helga Storck, Isabelle Perin, Zvi Zeitlin, Marisa Robles, Bryn Lewis, Sherban Lupu, David Alberman, Miriam Fried, Gary Hoffman and Sioned Williams

• Faculty Artist Series recitals by Louise Hopkins, Pierre Doumenge, Krzysztof Smietana and Alexander Baillie playing alongside senior students

• Performances by senior student string quartets in Guildhall Artists at the Barbican, rush-hour concerts preceding LSO concerts on the Barbican stage

• String players performing in Symphony, Chamber and Baroque Orchestra concerts, operas, and chamber music throughout the year.

Recent Student SuccessesGeminiani Quartet Winner of 1st Prize at the Alexander and Buono International String Competition

Hikaru Mitsukawa (BMus Violin) Winner of 2nd Prize at the Munetsugu Angel Violin Competition in Nagoya, Japan

Hannah Stone (MMus Harp) Winner of 2nd Prize in the Reinl Competition, Vienna

Alumni includeJennifer Pike (Violin 2009), soloist

David Coucheron (Violin 2008), concertmaster of Atlanta Symphony Orchestra

Maxim Rysanov (Viola 2005), recipient of Classic FM/Gramophone Young Artist of the Year

Lawrence Power (Viola 1996), soloist

Tom Norris (Violin/Viola 1993), Co-Principal 2nd Violin, London Symphony Orchestra

Stephanie Gonley (Violin 1987), Leader of the English Chamber Orchestra

Tasmin Little (Violin 1986), soloist

Anthony Marwood (Violin 1986), soloist

Auditions, Open Days and Contact Information:www.gsmd.ac.uk/music


Wind, Brass and Percussion

Flute • Oboe • Clarinet • Bassoon • Horn • Trumpet • Tenor & Bass Trombone • Tuba • Timpani & Percussion • Alto Saxophone • Recorders

Individual lessons • Instrumental classes and masterclasses with visiting musicians • Chamber music • Orchestra • Orchestral repertoire sessions • Wind Ensembles • Brass ensembles • Contemporary Music • Percussion ensemble • Samba Band • Sax ensemble • Recorder consort

The Wind, Brass & Percussion department provides

top quality Principal Study coaching enhanced by

a wide variety of performance opportunities. The

emphasis is on the development of the student’s

creativity and professional skills.

‘The School’s reputation

of providing world-class tuition and support for

every student has proved to

be true – I have been supported

every step of the way.’

Ben Gernon, BMus Tuba


Head of Department

Richard Benjafield GRNCM PPRNCM

Deputy Head of Department

Jo Hensel BSc GGSM


Alastair Tait BMus PPRNCM

Senior Tutor in Wind, Brass and Percussion Chamber Music

Joy Farrall GGSM


See page 40.


See page 41.

Recent Department Highlights• Visiting artists and masterclasses include

soloists of the Berlin Philharmonic: Gabor Tarkovi (Trumpet), Stefan Schulz (Bass Trombone), Jonathan Kelly (Oboe); principal players of the London Symphony Orchestra: Rod Franks (Trumpet), Rachel Gough (Bassoon), Andrew Marriner (Clarinet); Mark Nuccio (Principal Clarinet, New York Philharmonic), Stefan Hoskuldsson (Principal Flute, New York Met Opera), Ron Barron (ex-Principal Trombone, Boston Philharmonic), Oystein Baaadsrik (Tuba)

• Audition masterclasses with LSO players for Woodwind, Brass and Percussion as part of Centre for Orchestra

• The Geoffrey Gilbert Flute Room was opened in May 2009 in memory of former professor Geoffrey Gilbert who taught James Galway and William Bennett. The room houses Gilbert’s personal collection of music and scores.

• Guildhall Brass Ensemble recording of Gilson’s La Fanfare Wagnerienne in a new performance edition by Eric Crees is due for release in summer 2012

• Concert series of performances by department ensembles include Kings Place, pre-LSO Guildhall Artists at the Barbican concerts in the Barbican Hall, Saxophone Ensemble’s UK cathedral series, performances in the BBC Symphony Orchestra Total Immersion days

Recent Student SuccessesSarah Brown (BMus Clarinet) and Mana Shibata

(MMus Oboe) Selected for LSO Wind Academy 2011

Raymond Hearne (BMus Tuba) Winner of 1st Prize

at the Newark Brass Festival Competition

Liz O’Brien (BMus Bassoon) Winner of the

McCullough Cup and RTÉ Lyric FM Award

Joseph Ryan (BMus Horn) Winner of the Yamaha

Brass Prize and Royal Dublin Society Music Award

Alumni includePhilip Cobb (Trumpet 2009), London Symphony

Orchestra, joint Principal Trumpet

Clare Robson (Flute 2006), Northern Sinfonia,

Principal Flute

Angela Barnes (Horn 2005), London Symphony

Orchestra, 2nd Horn

Elspeth Dutch (Horn 2002), City of Birmingham

Symphony Orchestra, Principal Horn

Alison Balsom (Trumpet 2001), international

trumpet soloist and winner of Best Female Artist,

Classical Brit Awards

Joby Burgess (Percussion 2001), solo percussionist

Chris Richards (Clarinet 2001), London Symphony

Orchestra, Principal Clarinet

Cormac Henry (Flute 2000), Royal Liverpool

Philharmonic Orchestra, Principal Flute

Gareth Davies (Flute 1994), London Symphony

Orchestra, Principal Flute

Sarah Willis (Horn 1990), Berlin Philharmonic

Orchestra, 4th Horn

Auditions, Open Days and Contact Informationwww.gsmd.ac.uk/music

Keyboard Piano • Fortepiano • Harpsichord

Individual lessons and masterclasses • Keyboard skills • Performance and repertoire studies • Duo performance • Chamber Music

This course is intended for keyboard players showing a

high level of ability and musicianship with the potential

for a career as a soloist or in chamber music. It includes

options for Chamber Music electives and dedicated

courses in Accompaniment and Repetiteur Training.


See page 40.


See page 41.

Head of Department

Ronan O’Hora FGS FRNCM

Deputy Head of Department

Pamela Lidiard MA FGS GGSM

Senior Professor

Joan Havill FGS ARCM LRSM

Senior Professor in Vocal Accompaniment

Graham Johnson FGS FRAM

International Chair in Piano Studies

Richard Goode HonFGS

Visiting Professors

Imogen Cooper FGS

Paul Lewis FGS


Alastair Tait BMus PPRNCM

Senior Tutor in Keyboard Chamber Music

Caroline Palmer BMus

Recent Department HighlightsRecent masterclasses by Lang Lang, András Schiff,

Richard Goode, Imogen Cooper, Simon Trpceski,

Christian Blackshaw, Paul Lewis, Ronald Brautigam, Leon

Fleisher, Aleksandar Madzar, Rolf Hind, Martin Katz

Faculty Artist Series recitals by Caroline Palmer,

Charles Owen, Iain Burnside and Noriko Ogawa

Senior pianists performing as soloists with

Chamber and Symphony Orchestras, and on the

Barbican stage preceding LSO concerts as part of

Guildhall Artists at the Barbican

Recent Student SuccessesAnna Cardona Esteva (Piano Accompaniment

Fellow) Winner of the Kathleen Ferrier Piano Accompanist Prize

Alexandra Dariescu (Piano Fellow) Winner of the Verbier Festival CUBS Piano Prize; Romanian Ambassador’s Award for Musical Achievement

Martyna Jatkauskaite (Piano Fellow) Winner of 1st Prize in the Giorgos Thymis International Piano Competition

James Kreiling (Piano Fellow) Winner of 2nd Prize in the British Contemporary Piano Competition

Jennifer Lee (DMA Piano) Winner of the Maurice Ravel International Music Academy Prize

Mishka Rushdie Momen (BMus Piano) Winner of 1st Prize in the Piano Section of the Tunbridge Wells International Young Artists Competition

Ben Schoeman (MMA/DMA Piano) Winner of the Standard Bank Young Artist Award for Music South Africa

Alexander Soares (Piano Fellow) Winner of 2nd Prize at the Beethoven Piano Society of Europe Competition; winner of 2nd Prize at the Brant International Piano Competition

Dinis Sousa (BMus Piano) Winner of 1st Prize in the Santa Cecilia Piano Competition in Portugal

Grace Yeo (MMus Piano) Winner of 2nd Prize in

the Norah Sande Award

Alumni includeTom Poster (Piano 2004), Sa Chen (Piano 2001),

Paul Lewis (Piano 1994), Lucy Parham (Piano 1989)



‘I came to Guildhall because I wanted to widen my experience in music in

London, the best city in the world for musicians. I’ve had amazing

experiences of masterclasses with great musicians such as Dominique Merlet,

Richard Goode and Paul Lewis.’Grace Yeo, MMus Piano


‘I came to the Guildhall because of the superb level of teaching.

The Vocal Department has a world class staff, whose dedication and

passion inspire students to achieve their utmost potential.’

Anna Anandarajah, BMus Vocal Studies 36 To find out more visit www.gsmd.ac.uk


Vocal Studies Individual lessons and masterclasses • Languages (German, Italian, French) • Song class • Light music/Music Theatre • Movement, speech and drama • Recitative • Oratorio • Opera Studies • Performance Projects

As well as Principal Study and individual coaching,

the department provides training in French Mélodie,

German Lieder, Italian aria, Russian, Spanish and

English repertoire, movement, language and song.

Other opportunities within the course include Opera

Associates and Opera Ensemble.

Head of Department

Linnhe Robertson MA BMus BA

Deputy Head of Vocal Studies

Armin Zanner MA MPhil (Cantab) MMus

Vocal Performance Consultant

Sarah Walker CBE FRCM FGS

Senior Professor in Vocal Accompaniment

Graham Johnson FGS FRAM

Recent Department HighlightsMasterclasses: Dame Kiri Te Kanawa, Christine

Brewer, Susan Bullock, Sally Burgess, Sarah Connolly,

Gerald Finley, Dame Emma Kirkby, Catherine

Wyn-Rogers, Paolo Olmi, Graham Johnson, Edith

Wiens, Anthony Legge, Graham Clark, Pamela Bullock,

Peter Robinson, Malcolm Martineau, Amy Jarman,

Susan Youens, Eugene Asti, Elijah Moshinsky, Martin

Katz, Susan McCulloch, Rudolf Piernay, Laura Sarti,

Susan Waters

Performances include: Verdi Requiem, Stravinsky

Les Noces (LSO St Luke’s & French tour), Walton’s

Belshazzar’s Feast, Mahler Symphony No. 2, Handel’s

Messiah (St Giles Cripplegate), Graham Johnson Lieder

lecture recitals, Lads in their Hundreds performance

project by Iain Burnside, pre-LSO Guildhall Artists at

the Barbican concert series in the Barbican Hall, Opera

Ensemble performance series, City of London Festival

& LSO St Luke’s recitals, new vocal music (‘Voiceworks’)

projects at Wigmore Hall and The Forge, Henze Voices

in the Barbican Hall (part of BBC Symphony Orchestra

Total Immersion Day), Guildhall Consort performances,

many Vocal Studies song repertoire concerts.

Recent Student SuccessesKayleigh Anger (BMus Vocal Studies) Winner of the

North London Music Festival Singing Competition

Benjamin Appl (Postgraduate Vocal Studies)

Winner of the Public’s Choice Award at the Das Lied

Competition, Berlin

Barbara Barradas (Postgraduate Vocal Studies)

Winner of the Audience Prize, Concurso de Canto

Lirico Fundacao Rotaria Portuguesa

Keri Fuge (Postgraduate Vocal Studies) Winner

of the Michael Oliver Prize at the Handel Singing

Competition

Susana Gaspar (Vocal Studies Fellow) Semi-finalist,

BBC Radio 2 Kiri Prize; Winner of 1st Prize, Lieder

Prize and Portuguese Song Prize, Concurso

de Canto Lirico Fundacao Rotaria Portuguesa

Martin Hässler (BMus Vocal Studies) Winner of

1st Prize at the Bundeswettbewerb Gesang Berlin;

Winner of 2nd Prize at the Das Lied Competition, Berlin

Mae Heydorn (Postgraduate Vocal Studies) Winner

of the Schubert Competition

Szymon Komosa (Postgraduate Vocal Studies)

Selected to represent Poland in BBC Cardiff Singer of

the World 2011

Raphaela Papdakis (Postgraduate Vocal Studies)

Winner of the Courtney-Kenny Award from the

Association of English Singers and Speakers


‘The quality of teachers is second

to none. I am thrilled with my

teacher; every session confirms the

decision to be here studying with him.

I also love living in London – it’s a

wonderful city!’Charlie Mellor, MMus

Opera Studies

Opera Studies Opera Studies provides an intensive training for up

to 24 singers and 4 student repetiteurs at any one

time. It offers an advanced level of vocal training

and aspires to work at a professional level over two

years full-time.

The course provides singing lessons, individual

coaching in roles and repertoire, acting and stage

techniques – movement, dance, make-up and

drama language coaching, workshop productions

of scenes, fully staged public productions and

career guidance.

In addition to the vocal and dramatic training, the

department mounts, in full collaboration with the

Technical Theatre Department, three full public

productions each year and three programmes of

operatic excerpts in a workshop setting.

Repetiteur Training This is for excellent pianists and accomplished sight-

readers, with experience of accompanying singers

and some knowledge of the operatic repertoire.

The course is run from within the Opera Department

and successful candidates will be fully committed to

the work of that Department.

The course comprises accompanying opera production

rehearsals, coaching singers on the Opera Course,

individual coaching, training in repetiteur techniques,

harpsichord tuition and experience of continuo

playing, piano lessons and language coaching.

Head of Department

Dominic Wheeler BA(Cantab) ARCM(PG)

ARCO Hon ARAM

Resident Producer Martin Lloyd-Evans BSc (Hons) FGS



Recent Performances

2011 – 2012 Nicolai Die lustigen Weiber von Windsor

Britten A Midsummer Night’s Dream and

Rorem Our Town (European premiere)

2010 – 2011De Almeida Spinalba

Poulenc Dialogues des Carmélites

Donizetti Rita and Tchaikovsky Iolanta

2009 – 2010Donizetti L’assedio di Calais

Massenet Chérubin

Britten Albert Herring

2008 – 2009 Gluck La rencontre imprévue

Sallinen The King Goes Forth to France

Martinu The Marriage (British stage premiere) and

Rossini La cambiale di matrimonio

2007 – 2008 Mozart Die Zauberflöte

Offenbach La vie parisienne

Gounod La colombe and Rossini L’occasione

fa il ladro

2006 – 2007 Hindemith The Long Christmas Dinner and

Berkeley A Dinner Engagement

Mozart Le nozze di Figaro

R. Strauss Capriccio

2005 – 2006 Mozart La finta semplice

Verdi Falstaff

Puccini Gianni Schicchi and Il tabarro

Recent Student SuccessesMaire Flavin (Opera Course) Winner of the

Thelma King Award

Eva Ganizate (Opera Course) Winner of 1st Prize,

John Warner Memorial Award; Winner of the

Musique d’Ensemble Woodbrass Prize

Sky Ingram (Opera Course) Winner of the Lorna

Viol Memorial Prize and ROSL Trophy for the most

outstanding musician from overseas; Tait Memorial

Scholarship for an Australian Musician

Sophie Junker (Opera Course) Winner of the Handel

Singing Competition

Eleanor Laugharne (Opera Course) Winner of the

Maggie Teyte Prize and Miriam Licette Scholarship

Amy J Payne (Opera Course) Winner of 2nd Prize,

John Warner Memorial Award

Elena Sancho-Pereg (Opera Course) Winner of the

International Singing Competition of Lograno, Spain

Victor Sicard (Opera Course) Winner of 2nd Prize

at the Jackdaws Vocal Awards; Winner of the 2nd

prize at the Oxford Lieder Young Artist Platform

Koji Terada (Opera Course) Winner of the

Clonter Opera Prize and Audience Prize

Alumni includeKate Royal (Opera 2003)

Sally Matthews (Opera 2000)

Mark Stone (Opera 1998)

Toby Spence (Opera 1995)

Roderick Williams (Opera 1995)

Bryn Terfel (Opera 1989)

Anne Sofie von Otter (Opera 1982)

Recent graduates won places at the highly-acclaimed

National Opera Studio, Opera Studio Young Artist

Programme at the Berlin Staatsoper, English National

Opera Young Artist Programme and the Jette Parker

Young Artists Programme at the Royal Opera House.

Others secured roles with Opera Holland Park,

Nuremberg Opera Studio, Clonter Opera, and Welsh

National Opera.


Historical Performance Historically Informed Performance offers students

a solid basis for a sustained and rewarding career in

the music profession.

The opportunity to study an historical instrument

as a supporting study/elective through the BMus

programme is available where appropriate. Many

students find that a knowledge of traditions and

techniques of the past can inform their performances

of the future. This course is offered as a principal

study at postgraduate level only.

Head of Historical Performance

Jane Booth BMus LRAM

Recent Department HighlightsMasterclasses: Emma Kirkby (Voice), Rachel Podger

(Violin), Jill Severs (Harpsichord), Peter Whelan

(baroque winds), Principal players from the OAE

(ensembles)

Performances: Baroque Ensemble performance in

the London Handel Festival under the direction of

Adrian Butterfield; Recorder Consort performances at

King’s Place, London; Guildhall Consort conducted by

Eamonn Dougan in programmes of Josquin, Victoria,

Grieg, Purcell, Palestrina, in the Barbican Foyer;

Monteverdi, Lotti and Gabrieli in St Martin-in-the-

Fields; Robert Ramsey, Schubert in the Guildhall School

Music Hall; devotional a cappella works by Giuseppe

Verdi, Igor Stravinsky and Tomas Luis da Victoria at St

Anne’s Lutheran Church; senior students performed

at Hatchlands Park using instruments from the Cobbe

Collection; performances by the Guildhall Baroque

Orchestra under the direction of Pavlo Beznosiuk,

including a collaboration with the Royal Academy of

Music’s Becket Ensemble.




Chamber Music Chamber Music Studies is aimed at a small number

of pre-existing groups who wish to hone their skills

and develop their profile. Groups can consist of any

combination of three players or more with the group

receiving weekly coachings with Principal Study staff

and also first preference for coachings with visiting

ensembles and artists. Any group interested in this

option should contact the Director of Music. This

course is offered at postgraduate level only.



Senior Tutor in Strings Chamber Music

Matthew Jones

Senior Tutor in Wind, Brass and Percussion Chamber Music

Joy Farrall GGSM

Senior Tutor in Keyboard Chamber Music

Caroline Palmer BMus

Visiting Ensembles

International Chair in Quartet: Takács Quartet

Resident Quartet: Belcea Quartet

Visiting Quartet-in-Association: Endellion

Quartet

Recent Department HighlightsMasterclasses: Daniel Philips, Gary Hoffman,

Isabel Charisius, David Alberman, Andras Keller

Performances: Lunchtime chamber and song series

at the City of London Festival, regular performances

before LSO concerts as part of Guildhall Artists at the

Barbican, staff and student ensemble performances

in Faculty Artist Series

Recent Student SuccessesGeminiani Quartet: Winner of 1st Prize at the

Alexander and Buono International String Competition


Centre for Classical Improvisation and Creative PerformanceThe centre offers research, training, open workshops

and performances related to classical improvisation

and a creative approach to interpretation. Students

study traditions of extemporisation such as improvised

cadenzas, repeats and fantasias, while striving to

enhance spontaneity and risk-taking in interpretation and

performance. The head of the centre is David Dolan.

Composition Individual lessons and masterclasses • Workshops • Techniques of Composition • Orchestration • Electronic Music • Analysis • Aesthetics

Undergraduate The guiding principle which underpins this course

is that composers should develop in collaboration

with technically proficient and sympathetic

instrumentalists, under the expert guidance of

experienced practitioners. At the heart of the course is

the workshop process, and we make a commitment to

workshop every piece that students write.

Postgraduate The course is primarily practical and project-based

work, supported by weekly analytical and

theoretical seminars.

In addition to compositional activity, students

participate in compulsory modules in electronic

music and writing for film and television. Composers

can pursue these areas further within the elective

programme which also offers a wide range of

supporting studies from performance, jazz and

improvisation to analytical or historical research.

DMus in Composition

See Research Degrees (page 74).

Visiting composers include George Benjamin,

Alexander Goehr, James MacMillan, Jonathan

Harvey, Judith Weir and Richard Ayres, while

prominent publishers, copyists and administrators

offer practical insights into the music business.


‘It’s amazing to be learning from some of the leading figures in the contemporary music scene, teachers who constantly inspire and who truly wish you to succeed.’Sylvia Lim, BMus Composition


Electronic Music Individual lessons and masterclasses • Ensemble • Technical Seminars • Composition

The Electronic Music Principal Study course embraces all areas of music technology whilst, at the same time,

allowing students the freedom to pursue their studies from a compositional, production or performance bias.

The course is offered at undergraduate level only.

Composition and Electronic MusicHead of Composition

Julian Philips MA (Cantab) FGS

Composer-in-Residence and

Professor of Composition

Julian Anderson BMus (RCM) MPhil (Cantab)

AM (Harvard)

Head of Electronic Music and

Music Technology

Mike Roberts MA

Recent Department HighlightsThe School’s New Music Ensemble annually

performs in the BBC Symphony Orchestra’s

Total Immersion composer days, recently: Brian

Ferneyhough, Unsuk Chin and Peter Eotvos (2011).

In February 2011, Guildhall composition students

Francisco Coll, Edmund Finnis and Marcus Barcham-

Stevens wrote ensemble pieces for the Ferneyhough

day, later broadcast on BBC Radio 3.

Voiceworks – AHRC Funded Research Project

with the Contemporary Poetics Research Centre,

Birkbeck College, resulting in annual performances

at the Wigmore Hall, streamed live on

www.voiceworks.org.uk.

London Contemporary Dance School

collaborations: each year postgraduate composers

collaborate with dance school choreographers to

produce new works featured in a series of public

performances at The Place.

Orchestral premieres by Guildhall composers Edmund

Finnis, Ed Nesbitt and Francisco Coll featured in

Guildhall Symphony concerts at the Barbican Hall.

Recent Student Successes

Francisco Coll (MMus Composition) Represented

Spain in the UNESCO International Rostrum of

Composers with Piedras; appointed Composer in

Residence with the Jove Orquestra de la Generalitat

Valenciana

Raymond Yiu (DMus Composition) Winner of

the British Composer Award for Chamber Work

Northwest Wind

Alumni includeMica Levi (Composition 2009), Raisa Khan,

Marc Pell (Electronic Music 2009) aka Micachu

and the Shapes

Tansy Davies (Composition 1998), composer

and recipient of Paul Hamlyn Foundation Award

Dario Marianelli (Composition 1994),

Oscar-winning film composer

Thomas Adès (Composition 1989), composer,

conductor and pianist

Debbie Wiseman MBE FGS (Composition 1984),

film and television composer


To find out more visit www.gsmd.ac.uk

‘Out of all the music colleges, Guildhall prepares you to be versatile and equips

you with skills to work in a variety of different contexts – I’m grabbing

opportunities and perfecting my craft.’Lewis Daniel, BMus Jazz



Jazz Saxophone • Trumpet • Trombone • Tuba • Piano • Guitar • Bass Guitar • Double Bass • Drums • Voice (other instruments by negotiation)

Undergraduate Principal Study Jazz students benefit from a

broad range of music study with a specialist

focus on jazz. Whilst working within the framework

of the four year BMus programme, this unique course

develops skills within a wide range of musical fields.

Postgraduate This is an intensive course for a group of 15-20

instrumentalists and singers who have already

reached a high level of performance and are

preparing to enter the field as professionals.

The course is designed to train the whole musician

through an aural approach and a broad curriculum

to give students a solid foundation in performance,

harmony, rhythm, improvisation, composition,

arranging and studio recording.

Head of Jazz

Martin Hathaway GGSM LGSM

Recent Department HighlightsAnnual performances in the London Jazz Festival:

2010 included a Guildhall Jazz Band performance

with Jacqui Dankworth (vocals); the Guildhall School

Jazz Festival: 2011’s festival included performances

by Guildhall jazz ensembles with Jim Hart, Michael

Garrick, Eddie Provost and Stan Sulzmann

Masterclasses with John Scofield, Mark Turner,

Lincoln Center Jazz Orchestra

Regular small band performances at the

Vortex Jazz Club

Annual collaboration with the Duke Ellington

Society UK

Alumni includeNatalie Williams (Jazz Voice 2001)

Stacey Kent (Jazz Voice 1991)

Jason Rebello (Jazz Piano 1989)

Cleveland Watkiss (Jazz Voice 1988)


‘What I most enjoy about the Leadership course is that it offers a real-life

experience close to that of a contemporary musician. It has the right balance of work

and freedom, enabling you to explore your own personality as an artist.’

Cris Van Beuren, MMus Leadership 46 To find out more visit www.gsmd.ac.uk


LeadershipThe Leadership pathway provides a unique

opportunity for professional artists to extend the

boundaries of performance practice and to explore

different creative processes and ways of learning

in a practical research environment. Students are

encouraged to identify a personal pathway of

professional development in artistic leadership,

composition, performance and/or as a practising

artist in a variety of artistic, cultural, community and

educational settings.

The course includes work on improvisation, voice,

body and percussion skills, exploration of non-

European and folk-based approaches to arts practice,

introduction to cross-arts collaboration, group

composition, creative and repertoire-linked projects,

performance and workshop-leading for different

contexts.

Exceptional students on Part One of the Leadership

pathway will also be given the opportunity to

continue their studies into Part Two (Leadership

Portfolio). Students undertake a portfolio of

three substantial performance events as a Leader,

Performer and Creator/Collaborator that are

designed to strengthen their own artistic

development in these three areas.


Sean Gregory MPhil BA (Hons) FGS LGSM (PCS)

Programme Leaders

Sigrun Saevarsdottir-Griffiths PGCert (PCS)

Nell Catchpole BA (Hons) PGCert (PCS)

Recent Department HighlightsMAP-making (Music, Art and Performance), an

ongoing collaborative project with the Royal College

of Art: in 2010, participating students collaborated

over six months to produce a new work incorporating

music, live electronics, moving image and live art,

which was performed at the Barbican’s Pit Theatre.

Leadership students have worked for the education

department of the London Philharmonic Orchestra

at the South Bank Centre, running a series of family

workshops based on the repertoire that the orchestra

subsequently performs in a family concert.

In 2010/11, several Leadership students travelled to

Argentina for an intensive cross-cultural musical

exchange.

Alumni includeDetta Danford (Leadership 2008) has led projects

in Singapore, Japan and The Netherlands and has

worked with professional ensembles from the

Gambia and Israel. UK work includes leading projects

for Barbican/Guildhall School Creative Learning

division, the London Philharmonic Orchestra and

the Barbican Arts Centre. She currently co-leads a

Creative Learning ensemble called Future Band. Made

up of 30 young instrumentalists, the members of

Future Band work on creating original pieces with

strong international influences.


‘The course is stimulating and inspiring and the Guildhall’s access to a wide variety of placements is providing me with invaluable experience and insight into different client groups.’Lucinda Gallant, MA Music Therapy

Music Therapy This course leads to the MA in Music Therapy

validated by City University, London, and approved by

the Health Professions Council (HPC).

This two-year programme aims to realise the full

potential of students’ individual musicianship and

equip them with the clinical therapeutic knowledge

and skills to qualify and work as registered music

therapists. Students gain clinical experience with

adults and children in a variety of settings including

psychiatry, special education, learning disability and

communication disorders.

It prepares students for employment in health,

education, social and community service and the

voluntary sector. Graduates from the programme are

eligible for HPC Registration and full membership of

the professional association (APMT).

Head of Department

Ann Sloboda BMus (Hons) (Oxon) PGDipMT

Auditions, Entrance Requirements, Open Days and Contact Informationwww.gsmd.ac.uk/music



Programmes of Study

Undergraduate

Key FactsBachelor of Music Honours Degree

• 4 years (full-time)

• 395 students/250 staff

• 750 applicants/94 places

The programme centres around one-to-one tuition with

tutorial support. At least two-thirds of the programme

is directly connected with Principal Study development,

with a degree of flexibility in the remainder for students

to create individual pathways via tutorial support and

electives offered by Music Studies and other modules

offered by Professional Development. The programme

recognises the importance of individual practice, study

and reflection.

Music Studies Each student develops essential general knowledge

and skills, and has the opportunity to choose

individual areas of interest. The emphasis is on

promoting the integration of practical and theoretical

aspects of music-making, and on supporting an

incremental development in areas of particular

individual interest and strength (Second Study,

Conducting, Analysis, Jazz for non-jazz specialists,

Electronic Music and others).

All students study Aural and Harmony up to a

required level, and then have a choice of Analysis,

Collaborative Skills, Composition, Electronic Music,

History, Jazz, Keyboard Musicianship, and Second

Study. Students are further supported through

Tutorial Groups, meeting regularly with their

individually assigned tutor both in groups and for

one-to-ones.

Year 3 and 4 choices include Advanced Keyboard

Musicianship, Analysis, Arranging, Body Matters,

Conducting, Counterpoint, History, Interpretation

through Improvisation, Introduction to Music Therapy,

Music Administration, Orchestration, Research

Project, and others.

Students in Years 3 and 4 who achieve high results

in Principal Study can also do Advanced Principal

Study and Advanced Ensemble.

Head of Music Programmes and

Music Studies

Alessandro Timossi FGS Diploma con Lode di

Pianoforte Diploma di Merito Accademia Chigiana di

Siena Diploma con Lode di Composizione

Deputy Head of Department (Undergraduate)

Claire Taylor-Jay BA(Hons) (Oxon) MMus PhD

Deputy Head of Department (Postgraduate)

Kate Romano MPhil (Cantab) PhD

Senior Postgraduate Tutor

Laura Roberts GGSM

Professional Development As part of the BMus programme, the Professional

Development Department works with students

to increase their awareness of the professional

world and equip them to be successful professional

practitioners. Students develop the full range of

skills required to be a 21st-century musician. Work

in this area is led by Creative Learning, a department

involving staff from both the Guildhall School and

the Barbican. This link enables students to meet and

work first hand with leading arts practitioners in a

variety of contexts.

Performance Matters (Year 1 BMus) This module explores the broader skills needed by

professional musicians. Areas investigated include health

and well-being, performance psychology, improvisation,

collaboration and communication skills.

Professional Studies (Years 3 & 4 BMus)

Preparing students for their professional lives this

module considers entrepreneurial skills, career

planning, teaching skills, biography presentation,

website development and other publicity materials.

The promotion of an external event is a compulsory

part of the Year 4 Professional Studies module.

Collaborative Skills/Workshop Skills (Optional Electives) These modules seek to develop the wider musical

and collaborative skills that many musicians draw

upon during their professional careers. Students have

opportunities to undertake inter-disciplinary and

cross-sector projects, using their musical skills in a

wide variety of contexts.



Programme Leader, Professional Pathways

Robert Wells BA(Hons) MMus



Postgraduate

The Guildhall School offers one of the world’s

most innovative packages of postgraduate

study. Qualifications available include:

Guildhall Artist Programme

• Performance (MMus, MPerf)*

• Composition (MMus, MComp)*

• Leadership (MMus, MLead)*

MA in Music Therapy

MPhil/DMus

MPhil/PhD

*PGDip available on completion of specified modules.

Guildhall Artist Programme The Guildhall Artist Masters programme is offered in

the three pathways of Performance, Composition and

Leadership and is in two parts: Part One is available

in full-time (one year) or part-time (two years) modes

except for Leadership which is full-time only. Part Two

is available only in full-time mode (one year).

Part One: Successful completion of Part One meets

all the criteria for a Masters level (level 7) award and

a student may conclude their studies at this point and

be awarded a Master of Music (or a Postgraduate

Diploma, according to the modules taken). The

programme builds on the student’s intense activities

in Principal Study, offering in addition contextual

studies and a wide range of elective opportunities

including those offered by Music Studies and

Professional Development.

Students who decide to concentrate entirely on their

Principal Study without taking the elective options,

can be awarded the Postgraduate Diploma (PGDip) at

successful completion of the year.

Part Two: Available to students who pass Part

One in full (with electives) and obtain the required

level of achievement in Principal Study. Students

successfully completing Part Two will be awarded a

Master of Performance (Guildhall Artist), or Master

of Composition (Guildhall Artist), or Master of

Leadership (Guildhall Artist).

Part Two is very strongly focused on further

developing Principal Study technical and artistic

abilities, breadth of repertoire, creative output and

professional experience. Performances are supported

by a series of seminars both of an inductive nature,

and on specialist topics.

Guildhall Artist: Performance Pathway The Performance Pathway offers the following

Professional Specialisms:

Strings, Wind, Brass and Percussion Players:

Advanced Instrumental Studies, Chamber Music and

Orchestral Training

Keyboard Players: Advanced Instrumental Studies,

Chamber Music and courses for Accompanists and

Repetiteurs

Singers: Vocal Studies and Opera

Historical Performance and Jazz musicians:

specific courses tailored to each area of

specialist need

Guildhall Artist: Composition Pathway See page 42.

Guildhall Artist: Leadership Pathway See page 47.

MA in Music Therapy See page 48.

Doctoral programmes See Research details page 74.


Performance Opportunities

Preparing you to be a professional performer is

the key focus of training at the School. You will

be encouraged to take advantage of the many

performance opportunities that exist both formally

and informally within the School and outside.

The Gold Medal The Guildhall School’s premier music prize was founded

and endowed by Sir H. Dixon Kimber in 1915 and

since the 1950s it has been open to singers and

instrumentalists in alternate years. The final traditionally

takes place in May each year in a sold-out Barbican Hall.

Previous winners include Jacqueline du Pré (1960),

Tasmin Little (1986), and Bryn Terfel (1989).

In recent years, the Gold Medal has launched the

careers of:

Natalya Romaniw (soprano, 2011), Martyna

Jatkauskaite (piano, 2010), Gary Griffiths (baritone,

2009), Sasha Grynyuk (piano, 2008), Katherine

Broderick (soprano, 2007) and Anna-Liisa Bezrodny

(violin, 2006).

In the School Performance spaces include a Music Hall, the Silk

Street Theatre, a smaller Lecture Recital Room and

a performance space in the basement of the nearby

Hall of Residence, Sundial Court. Work has begun on

a new building, Milton Court, which will include a

610-seat concert hall and two theatres, due to open in

Spring 2013.

The termly opera production takes place in the Silk Street

Theatre, which offers particularly fine technical facilities.

The School is equipped with a large number of solo

practice studios, medium size ensemble rooms,

larger performance spaces and recording facilities.

Most rooms are equipped with pianos (grands where

possible) as well as being fully fitted out with the latest

audio visual equipment.

In addition to opera and drama productions, there is a

full programme of student concerts and recitals within

the School. These events, which number over 100

every term, are generally open to the public. See

www.gsmd.ac.uk/events for the current season listing.

In London The School’s large ensembles give regular concerts in

the Barbican Hall and LSO St Luke’s. There is also regular

use of the Barbican’s Church of St Giles Cripplegate as a

concert venue. Other performances are given in venues

such as Kings Place, Bishopsgate Institute, St John’s

Smith Square and St Martin-in-the-Fields.

Outside Engagements One of the most valuable opportunities for performance

experience is the School’s extensive programme of

Outside Engagements. The engagements range from

background music at company and corporate functions,

music for wedding services, receptions and family

occasions, to full recitals and concerto performances for

music clubs and societies.

Music Ensembles There is a vast array of Guildhall School ensembles

from full symphony and chorus (including opera) to

chamber and small ensemble. There are dedicated

ensembles for jazz, historical performance and new

music. In addition, students are encouraged to form

their own ensembles.

Visiting Ensembles and Artists International Chair in Quartet: Takács Quartet

Resident Quartet: Belcea Quartet

Visiting Quartet-in-Association: Endellion Quartet


Architect’s image of the new concert hall in Milton Court, opening in 2013


Collaborative ProgrammesThe Guildhall School has ongoing relationships and

programmes with its many partners. They include:

London Symphony Orchestra

Philharmonia Orchestra

BBC Symphony Orchestra

Barbican Centre

Aldeburgh

London Contemporary Dance School

Royal Academy of Music

Royal College of Art

City of London Festival

British Council

ECCO International

Wigmore Hall

Kings Place

Bishopsgate Institute

Cross-arts Collaborations One of the unique aspects of the School is the

opportunity provided for cross-discipline collaboration

with fellow students on the Acting and Technical

Theatre programmes. All first year undergraduates from

all art forms work together on a workshop project and

all students right across the School are encouraged to

work collaboratively across art forms to enrich their

learning through the experience of other disciplines.

An annual Guildhall Festival brings together

students from all disciplines and offers an informal

showcase for the creative talents of students

throughout the School.

European ExchangeThe School participates in the European ERASMUS

Exchange Programme in association with the British

Council. It is an internationally renowned programme

for exchange of staff and students between European

conservatoires.

Please see the Erasmus page on our website, email

[email protected], visit www.doremifasocrates.org

or visit www.britishcouncil.org/erasmus for more

information.

International ExchangeThe School also collaborates with Griffith University,

Australia, the Banff Centre in Canada and the

Peabody Institute enabling a small number

of students to study abroad and experience

different methods of teaching and learning, and

a different culture.

‘With its connection to one of the world’s most important and vibrant arts centres, the Guildhall School provides a uniquely stimulating and rewarding environment in which musicians can develop and widen their musical experience.’Paul Lewis, Piano 1994

Senior Staff Director of Music

Jonathan Vaughan DipRCM(Perf) DipRCM(Teach)

Head of Advanced Performance Studies


Head of Strings

Louise Hopkins FGS AGSM

Head of Wind, Brass and Percussion

Richard Benjafield GRNCM PPRNCM

Head of Keyboard Studies


Head of Vocal Studies

Linnhe Robertson MA BMus BA

Head of Opera

Dominic Wheeler BA(Cantab) ARCM(PG)

ARCO Hon ARAM





Head of Music Programmes

Alessandro Timossi FGS Diploma con Lode di Pianoforte

Diploma di Merito Accademia Chigiana di Siena Diploma con

Lode di Composizione

Head of Composition

Julian Philips MA(Cantab) FGS

Head of Electronic Music and Music

Technology

Mike Roberts MA

Head of Historical Performance

Jane Booth BMus LRAM

Head of Jazz

Martin Hathaway GGSM LGSM

Head of Music Therapy

Ann Sloboda BMus(Hons) (Oxon) PGDipMT

For a full list of teaching staff please visit the website: www.gsmd.ac.uk/music



Centre for OrchestraEnsemble training is a key element within the musical

life of the Guildhall School. Centre for Orchestra,

launched in 2009, is a unique collaboration

between the London Symphony Orchestra, Guildhall

School and Barbican creating a forum in London

for orchestral development in the 21st century.

Boulez described the Orchestra as an ‘ensemble of

possibilities’, providing not only the opportunity to

play core and new repertoire but the opportunity to

challenge perceptions, challenge yourself and create

new experiences.

Centre for Orchestra offers Guildhall School musicians

unparalleled access to a world-class orchestra and

international arts centre. The programme focuses on

orchestral training, education and early career support in

order to create the great orchestral musicians of the future.

Centre for Orchestra staff

Gordan Nikolitch (LSO Leader)

Roman Simovic (LSO Leader)

David Alberman (LSO Principal Second Violin)

Tim Hugh (LSO Principal Cello)

Rinat Ibragimov (LSO Principal Double Bass)

Gareth Davies (LSO Principal Flute)

Emanuel Abbühl (LSO Principal Oboe)

Christine Pendrill (LSO Principal Cor Anglais)

Andrew Marriner (LSO Principal Clarinet)

Rachel Gough (LSO Principal Bassoon)

David Pyatt (LSO Principal Horn)

Patrick Harrild (LSO Principal Tuba)

Centre for Orchestra focuses on the following core components:

Orchestral work: players in the Guildhall Symphony

Orchestra receive individual and group sectionals plus

full ensemble coaching from LSO players in the lead-

up to a performance at the Barbican.

Solo work: Masterclasses and workshops with LSO

Principals, international soloists, composers and

conductors are offered to develop performance

technique and presentation.

Entering the profession: prepares students, their

repertoire, and presentation for auditions and public

performances. Students may attend LSO rehearsals,

LSO concerts and an Orchestra Fair in order to get to

know the inner workings of a professional orchestra.

The wider profession: orchestral musicians have to

work in a range of contexts. This programme offers

students the opportunity to experience new areas.

Chamber music: students have the opportunity to

develop their chamber music performance through

shadowing LSO performances and performing on

stage at the Barbican in advance of LSO concerts.

Digital links: digital platforms link the School with

other musical organisations across the globe allowing

students to take part in debates with visiting soloists

and conductors.

Other art forms: opportunities to explore and

experiment with dance, spoken word, theatre and

visual art at the Barbican Centre, and allow it to

inspire new directions in your musical performance.

Research projects: what does it take to achieve and

sustain a career as an orchestral musician? What new

possibilities are there for orchestral musicians in the

contemporary world?

For further information, or to request a Centre for

Orchestra brochure, contact: [email protected]

Supported by


‘ This is what the musical world has been needing. ’

Sir Colin Davis, President, London Symphony Orchestra

LSO Conducting Masterclass © Kevin Leighton

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Technical TheatreThe Technical Theatre programme at the Guildhall School has long been recognised as providing some of the most innovative vocational theatre training in the UK and beyond. With the opening of the Milton Court development in the spring of 2013, the School will boast the best resources in the country, and amongst the best in the world. The teaching is practical and production based; you will work on public productions with professional directors, designers and conductors participating in the creation of acclaimed dramas, musicals and operas.

The Guildhall School has five professionally equipped

performance venues, state-of-the-art equipment

and professional production values. These allow the

programme to keep completely in line with current

practice and new theatre technology. You will use the

School’s on-site theatres, rehearsal rooms, workshops

and costume department to collaborate in the

production of 15 major dramas and operas each year

together with a range of smaller projects and events.

The syllabus has been designed to involve you

completely in the complex art of theatre; bringing

together writers, designers, actors, musicians,

composers, choreographers, technicians and

administrators to create a production. Your training

will provide you with a firm practical knowledge of

theatre crafts and managerial skills and prepare you

for a professional life in the theatre. This programme

has delivered an excellent record of graduate success

in theatre, film, television and related industries.

Key FactsBA Honours Degree in Technical Theatre Arts

• 3 years (full-time)

• 108 students across the programme

• 24 full-time staff

• 130 applications/36 places

Visit www.gsmd.ac.uk/technical_theatre for details

of open days and how to apply. Please note that

places are offered throughout the year so early

applications are advised.

This programme is accredited by Drama UK

(previously the National Council for Drama Training).

w


‘What I enjoy the most about studying at the Guildhall School is the

excellent yet approachable teachers. I am constantly told by industry

professionals what a good reputation the Guildhall School holds which makes

me feel truly privileged to study here.’Lena Slettemo Carlsson, BA Technical Theatre Arts



Programme Description We strongly believe that your training should suit

your own career aims. For this reason students

select one of three Pathways, each with a different

emphasis:

• Stage & Costume Management

• Theatre Technology (Sound, Lighting and Stage Technology)

• Design Realisation (Scenic Construction, Props and Scene Painting)

Within each Pathway it is possible to study elements

of the other two, so for example if you want to learn

about props and scenery construction, but retain an

interest in lighting you can choose accordingly, or if

you are interested in stage management, but still want

to gain some experience in sound, that’s fine too.

Of course, if you prefer to dedicate the bulk of

your study to a particular area you can do that. The

course is flexible enough to allow for a wide range of

interests or a more specialised approach.

Year 1The first year of the programme brings all students to

the same threshold of knowledge. In addition to your

chosen Pathway classes, you study a broad range

of core subjects including: Theatre History, Period

Style, Contemporary Theatre, Health & Safety, and

Stagecraft & Production Process. Classes are usually

project based and wherever possible have a hands-

on, practical approach. For example, when studying

trends in contemporary theatre we’ll take you to

see a wide range of shows, many of them leading

international productions at the world-famous

Barbican Centre, with whom we maintain a close

working relationship. When we’re looking at period

styles we’ll take you to galleries and museums to look

at examples.

In this year you will also take a core module called

Associated Studies, which allows you to take three

short courses in areas of technical theatre from one

of the other two Pathways.

Year 2From the second year onwards students are totally

immersed in the Guildhall’s extraordinary productions,

working alongside professional directors and

designers on a full-time basis.

Year 3The final year provides you with true exposure to

professional theatre and the opportunity to make

contacts that will be essential to your future career.

All students undertake leading roles in their chosen

fields and may have the opportunity to lead the

whole team by taking on a Production Management

role. Students also complete a Graduation Project

presented either as a portfolio or a written paper,

and a period of outside work experience through

a secondment to a professional company or

practitioner.

Throughout the programme students are

encouraged to engage with actors, singers and

musicians from other programmes to generate their

own projects. Key areas of development throughout

the programme which are essential for employment

include:

• Learning to be part of the team of technicians, actors, singers and musicians working alongside professional directors, designers and conductors and participating in the creation and public performance of acclaimed dramas, musicals and operas.

• Using Information Technology in planning, managing and achieving productions. You will develop transferable skills in the latest office software as well as using specialist packages in many departments.

• Detailed knowledge of current developments in the theatre industry.


Stage and Costume Management Pathway Stage Managers are gregarious, outgoing and

thoroughly organised people. As a Stage Manager

your ‘people skills’ are essential as you need to

understand and work with actors, directors, designers

and all the technical departments in the theatre.

In this pathway you will learn about organising

rehearsals and performances to a completely

professional standard. Interestingly these are exactly

the skills you will need in the closely related area of

Costume Management. In each year you will develop

your skills across both areas, and by the final year you

will be able to negotiate just how much you want to

specialise.

Design Realisation PathwayDesign Realisation is about making and painting the

scenery and props that have been designed by the

set designer. Students following this pathway have

good creative and practical skills with strong problem

solving abilities. In each year you will develop your

skills across prop making, scenery construction

and scenic art; by the final year you will be able to

negotiate just how much you want to specialise.

Theatre Technology Pathway In the Theatre Technology Pathway you will learn

about Lighting, Sound, Projection and Stage

Technology. In each year you will develop these skills

and by the final year you will be able to negotiate

just how much you want to specialise as you

take a leading role in productions to a completely

professional standard.

‘ The training on the Technical Theatre course is unrivalled in London…I value the opportunity I had to train there enormously.’Neil Constable, Chief Executive, Shakespeare’s Globe, Stage Management 1985


Architect’s image of the new theatre in Milton Court, opening in 2013


Programme facilities

You will train in our well-equipped, flexible theatre

spaces. The Silk Street Theatre seats up to 308 in

formats such as proscenium, promenade, thrust and

in the round. It has counterweight flying, a large

orchestra pit and easy access to the workshops. It

is particularly well equipped for lighting and sound

and provides a dramatic and adaptable environment

which is stimulating and exciting at the same time as

being practical, safe and ideal for learning.

The Studio Theatre is used for opera, showcases

and rehearsals, as well as for teaching projects and

experimentation.

In the spring term of 2013, the new development at

Milton Court will provide us with additional facilities

to house both Technical Theatre and Acting training.

It will provide new rehearsal rooms, a TV studio,

costume department and teaching rooms. Perhaps

most importantly it will include a new 610-seat

concert hall, a fully automated proscenium theatre

seating 225 and a new studio theatre with a tension

wired grid and flexible seating with a capacity of

128. This will mean that the School boasts more

performance venues than any other school in the UK.

In addition the School regularly stages productions

in the Barbican Centre’s theatres and at the nearby

Bridewell Theatre.

Other School facilities that you will use are the scenic

workshop, paintshop, prop making department,

newly equipped and refurbished sound studio,

lighting workshop, wardrobe, production and stage

management offices.

All departments are equipped with networked

computers with access to the internet. There is

a well-equipped computer room exclusively for

Technical Theatre use. You will be given an email

address and secure storage for your own files as

well as having access to production and programme

related information on shared drives and on the

School’s intranet.

Transferable skills

As well as equipping you with the skills and

knowledge to enter the theatre and entertainment

industries, the Technical Theatre Arts programme will

also provide you with a range of transferable skills

which are valuable to any employer. These include:

• Verbal and written communication skills

• Problem solving skills

• Time management skills

• IT skills

• Research skills

• Management skills.

Preparing for work On successful completion of the programme you will

be fully equipped with the professional standards,

skills, knowledge, experience and contacts to enter

the theatre industry. This can be as a permanent

employee of a theatre or company, or initially on a

freelance basis. You will receive lectures and advice on

what being freelance means, and how to go about

getting work. Our graduates have had a near 100%

employment rate.

Students who have a right to work in the UK are

eligible to become student members of British

Actors’ Equity and will automatically be granted full

membership on completion of their training.

Finding out more about the profession If you want to find out more about possible

careers backstage there are a number of good

websites to explore; try these three as a start:

getintotheatre www.getintotheatre.org

CDS www.drama.ac.uk

RSC (search for “think theatre” section)

www.rsc.org.uk


‘On coming to the Open Day I knew this was the college for

me – not only were the facilities amazing but the people and the atmosphere were unbeatable.’

James Brittle, BA Technical Theatre Arts


Professional secondment Students from the programme have recently been on secondment to:

The National Theatre

The Royal Court Theatre

The Royal Shakespeare Company

Shakespeare’s Globe

Royal Opera House Covent Garden

Opera North

Welsh National Opera

Almeida Theatre

Stage Technologies

Barbican Centre

English National Opera

Mamma Mia!

Rick Fisher – Lighting Designer

Paule Constable – Lighting Designer

Les Misérables

Autograph Sound

Imagination Events

White Light

Royal Albert Hall

Donmar Warehouse

Glyndebourne

Old Vic Theatre

The School is currently developing an exchange and

work programme within the Erasmus scheme which

will further enhance the professional secondment

offering to Technical Theatre students.


Employment Students from the Guildhall School Technical Theatre

programme have a very good record of employment

and former students can be found in a wide variety

of theatre and opera occupations. Examples of recent

graduate successes include:

Stage Management positions: West End,

national and international tours

National Theatre Production Office

ASM, Cheek by Jowl

ASM, Royal Opera House

Electrician, Royal Court Theatre

Hire Manager, White Light Group

Sound Technician on War Horse

Lighting Technician, UK tour Sound of Music

Wardrobe department, Royal Opera House

Covent Garden

ASM, Royal Shakespeare Company

Stage Manager, Rogeland Theatre Norway

Asst Sound Designer, Manchester Library Theatre

ASM, Scottish Ballet

ASM, Oliver!

Electrician, world tour of Swan Lake on Ice

Asst Prop Maker, English National Opera

Career Progress Previous Guildhall graduates have progressed to

senior positions:

Company Manager, Les Misérables

Stage Manager, Royal Shakespeare Company

Sound Designer, Autograph

Senior Technical Show Manager, Royal Albert Hall

Chief Electrician, Donmar Warehouse

Senior Production Manager, Imagination

Freelance Lighting Designer

Freelance Sound Designer

Theatre Designer

Enhanced Career Opportunities Students may go on to work in related industries

such as film, television, events, conference and also

in work away from the entertainment industries.

For example:

Assistant Director in the film industry

TV Researcher

TV Location Manager

Theatre Agent

TV Presenters’ Agent

Theatre Producer

Theatre Promoter

Theatre Marketing

Executive Director, Almeida Theatre

Documentary Film Maker

Director of UK Admin, Jim Henson Company

Head of Projects, Tussauds Group

Sound Engineer, Pop Videos

TV Sound Supervisor

Chief Executive, Shakespeare’s Globe


Staff

Director of Drama


Director of Technical Theatre

Ben Sumner MBA

Head of Design Realisation

Vanessa Cass BA(Hons) PGCert

Head of Stage & Costume

Management

Jonathan Woolf CSMGSM PGCert

Head of Theatre Technology

Steve Huttly FGS BA(Hons) PGCert

Head of Production

Stuart Calder CSMGSM

For a full list of teaching staff please visit the website:

www.gsmd.ac.uk/technical_theatre


Who will teach you There are 24 full-time members of staff in the

Technical Theatre department. All have had extensive

and varied careers in professional theatre. The

department maintains constant industry contacts

via incoming directors, designers, and through

professional colleagues and ex-students working

with all the major UK theatre and opera companies,

productions and suppliers.

Designers and Lighting Designers who have worked

at the School recently include: Peter Mumford,

Isabella Bywater, Susannah Henry, Mark Jonathan,

John Owens, Tom Rogers, Dora Schweitzer, Johanna

Town, Hugh Vanstone and John Leonard.

The particularly high staff/student ratio is one of

the strengths of the programme. As you move

through the programme, staff input changes from

formal teaching to empowering and supporting

your production work. This allows you freedom to

demonstrate and develop your professional

standards and skills.

A member of the teaching staff will also be your

personal tutor and will follow your progress and

act as a mentor for your personal development.

On productions, all students, whichever year they

are in, work together. Peer learning is therefore

important with senior students in organising roles

and more junior students being able to observe how

skills and knowledge are acquired and used.

Application and selectionEverybody who applies will be required to come to

London to attend an interview day at the School.

Interviews will be held from November until May with

applications being accepted up until the end of this

period. However, it is in your interest to apply

early as places are offered throughout the year.

Visit www.gsmd.ac.uk/technical_theatre for details

of our interview day and Open Day.

‘Guildhall’s training and resources are unrivalled and therefore their students are highly sought after.’Neil Austin, Stage Management 1992


Research & Knowledge ExchangeThe Guildhall School provides a dynamic environment

to explore fundamental questions that inform artistic

practice in the 21st century. Research increasingly

underpins collaboration across the campus. There

is therefore a unique opportunity to engage in

enquiry, experiment and reflection in the context of

an arts complex at the cutting edge of performance,

artistic production and innovation. There are diverse

opportunities for students across all programmes.

Current areas of research focus include:

• New opera and music theatre

• Presence in performance

• Poetry in music

• Understanding audiences

• Contemporary performance practice

Much existing work is inter-disciplinary and

collaborative, and all of it, led by eminent figures

from the music and drama professions, informs

teaching and the programmes of study, from

undergraduate to doctoral level.

Research Environment & Knowledge ExchangeThe international conference, the Reflective

Conservatoire, is an established feature of

the events calendar and a world leader in the

Conservatoire sector. The most recent conference,

Performing at the Heart of Knowledge (Feb

2012), brought together researchers, performers

and teachers in music and drama to address key

contemporary issues. Keynote speakers included

Sir Nicholas Kenyon and Professor Richard Sennett.

Guildhall ResearchWorks provides an annual

series of presentations, performances, workshops,

debates and roundtables. These are open to all

students, staff and in many cases to the public.

Guests of international standing include Helmut

Lachenmann, Professor Carl Schachter and Jonathan

Dove. Alongside them, students and staff have the

opportunity to present their work.

Research Degree – MPhil/DMus and MPhil/PhDThe Research Degree programme focuses on practice-

based research in the creative and performing

arts, and a particular strength lies in the field of

composition. The majority of projects result in

a combination of performance/creative outputs

and written work. In a few cases, where research

may best be expressed through the written word

alone, the output is a single thesis. An individual

research proposal is supported by a strong research

environment, a personalised development plan,

opportunities to draw on the artistic resources of

the School and a supervisory team combining artistic

and academic expertise.

Assistant Principal (Research & Academic

Development)

Dr Helena Gaunt PhD LGMS(PCS)

Head of Doctoral Programme

Dr Kate Romano MPhil (Cantab) PhD

Visit www.gsmd.ac.uk/research for more information.

Helmut Lachenmann presenting at a recent ResearchWorks conference


The world of workTraining at the Guildhall School is entirely focused

on equipping you for the career of your choice. As a

key aspect of this, all of our programmes are closely

engaged with the professions, whether through

talks and workshops from visiting industry figures,

work placements, mentoring, masterclasses, or

performance collaborations. Most of our teaching

staff continue to work on or offstage in their industry

and are perfectly placed to provide insight, advice

and useful contacts within their profession.

As you move through your programme, your links

with the relevant industry will grow. You will receive

careers advice with dedicated modules in many

programmes, as well as one-to-one advice from

teaching staff and mentors. Opportunities include:

• Actors take a career preparation module which includes advice on auditions and casting sessions, agents, unions, tax and accounting, CVs, and setting up a professional company.

• Technical Theatre students take a professional development module which includes help with CVs and job applications, interview technique, taxation, and unions. They also undertake a 4-6 week professional secondment.

• Undergraduate musicians take modules which include advice on business and marketing skills, and professional portfolios. Postgraduate musicians are required to plan external events and there are also opportunities for placements and artistic programming in certain programmes. All musicians can attend masterclasses, and in addition, the Centre for Orchestra initiative offers mock auditions, a side-by-side scheme and mentoring from LSO players.

After you graduate

All new graduates are automatically registered

as part of the Guildhall Alumni community. The

School’s Alumni Office promotes networking, social

opportunities, and active involvement in the future

development of the Guildhall School. The Alumni

Office offers a range of benefits (free of charge),

including regular magazines, programmes of events

and information about careers opportunities, such as

job vacancies, subsidised courses, competitions and

placements. The School also provides a secure area

on its website, the Alumni Common Room, where

alumni can update their contact details and search

for other alumni in the directory.

The Alumni Office has a specific presence on social

networking sites including Facebook, LinkedIn and

Friends Reunited, facilitating connections between

fellow alumni and the School.

All graduates, former staff and former students

who studied at the School for at least twelve

months are considered to be members of the

Guildhall’s alumni community. For further

information go to www.gsmd.ac.uk/alumni or

email [email protected].

Alumni

The School has an impressive record of alumni

success and achievement. Many of our former

students return to give talks, masterclasses or to

take part in performances, enabling them to stay

connected to the School and share their knowledge

and experience with current students.

Some of the School’s alumni include:

Dame Eileen Atkins, Naveen Andrews, Neil Austin,

Alison Balsom, Claire Bloom, Orlando Bloom,

Guy Chambers, Susan Chilcott, Daniel Craig,

Judy Craymer, Dido, Joseph Fiennes,

Sir James Galway, Dave Holland, Sarah Lancashire,

Paul Lewis, Tasmin Little, Sir George Martin,

Alistair McGowan, Ewan McGregor, Julia McKenzie,

Marian McPartland, Omar, Anne Sofie von Otter,

Rachel Podger, Rebecca de Pont Davies,

Jacqueline du Pré, William Primrose,

Patricia Rozario, Clive Rowe, Simon Russell Beale,

Claire Rutter, Bryn Terfel, Marcia Warren, and

Janice Watson.

To read biographies of some of our former students, visit www.gsmd.ac.uk/alumni.

Fees & FundingTuition feesTuition fees for all programmes are set annually and should be paid in advance. A 15% deposit is due on

15 July of the year of entry (EU and UK undergraduates are exempt from this deposit unless they have already

studied for an equivalent or higher qualification). In addition to tuition fees, students will need approximately

£1,050 – £1,200 per month for living and course related costs.

For further information about fees and funding including the School’s fee schedule please visit: www.gsmd.ac.uk/funding

Home/EU students

The following countries are classified as European Union for fee purposes:

Austria, Belgium, Bulgaria, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece,

Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Poland, Portugal, Romania, Slovakia, Slovenia,

Spain, Sweden, the Netherlands, United Kingdom. Some British and EU territories are also included.

There are also residency requirements which may affect your fee status. Further guidance on funding and

other issues for non-UK applicants is available from www.ukcisa.org.uk.

Please note that if you already have a degree or diploma at or above the level of the programme

you wish to study at the Guildhall School and would usually pay UK and EU (non-UK) fees you

will be classified as an ELQ student and will be liable to pay the equivalent of the overseas fee.

Non-EU students

All successful applicants are asked to complete a Fee Assessment Form before commencing their studies

at the Guildhall School to establish if their tuition fees will be at the ‘home’, ‘ELQ’ or ‘overseas’ rate.

For students requiring a visa to study in the UK, the UK Border Agency requires, as part of the visa

application process, that students demonstrate that they have the means to pay for their tuition for their

first year of study and the means to support themselves. For further details see

www.ukba.homeoffice.gov.uk/studyingintheuk.

Funding support and guidanceThe School offers a range of guidance notes to assist

students in identifying sources of funding to support

their studies. These are located in the Fees and

Funding section of the School’s website. The School’s

Student Funding Officer is also available to assist with

any funding queries you may have. Please contact

[email protected].

Home & EU students: funding assistance from the UK GovernmentAll EU/UK students embarking on their first

undergraduate degree will not have to pay any fees

whilst they are studying; students can receive a

tuition fee loan which is not means-tested. Students

will only be asked to repay the loan once they have

left university and are earning over £21,000 per year.



Maintenance support for UK undergraduate students

comes in the form of the maintenance loan, which is

a part means-tested loan repayable after graduation,

and the maintenance grant. The maintenance grant

is a means-tested non-repayable grant, where the

actual amount a student will be entitled to receive

will depend upon their household income.

Additional funds may also be available for

students with dependants or students with a

disability. For further information please visit

www.direct.gov.uk/studentfinance.

The National Scholarship ProgrammeThe School is part of the National Scholarship

programme.

Further details are available from the website: www.gsmd.ac.uk/funding.

Guildhall School scholarshipsThe School offers a range of scholarships to all

students regardless of domicile. A scholarship award

may cover the cost of tuition fees, in full or in part,

and may include an element for maintenance.

Awards are made by academic staff to individuals

on the basis of their talent, their potential and

their personal financial need. Successful Music and

Technical Theatre applicants will be sent a scholarship

application form on accepting the School’s offer;

details of Acting scholarships will be announced at

the final recall auditions.

US Direct Loans programme The School is certified to participate in the United

States Direct Loans programme administered by the

US Department of Education. Please download the

School’s Guide to Student Funding for students from

North America for further information. Additional

information is available from www.dl.ed.gov.

Additional funding support for registered studentsIf a student experiences an unforeseen change of

circumstances they may qualify for an award from the

School’s Hardship Fund to help them overcome their

immediate financial difficulties.

Full and part-time UK undergraduate and

postgraduate students with low incomes who need

extra financial support to access and remain in

Higher Education may be eligible for an award from

the UK Government’s Access to Learning Fund

administered by the School.


Apply and AuditionThe Guildhall School values its diversity of cultures and

welcomes applications from across the globe.

Please take a virtual tour of the School on our website

www.gsmd.ac.uk, or come and attend one of the

hundreds of concerts, plays, operas or masterclasses

that are open to everyone.

Book a place on one of our Open Days to visit the

School and experience the buzz for yourself.

Applications and any enquiries about attending the

Guildhall School are made directly to the School and

not via any outside intermediary or agency.

Full information concerning entry criteria and audition requirements, deadlines and fees and the online application form are available at www.gsmd.ac.uk/apply

www.gsmd.ac.ukThe Guildhall School website is designed to have everything you need for details about life at the School, including:

• onlineapplications

• OpenDaydatesandbookings

• in-depthinformationonourprogrammes of study, our facilities and support services, and partnerships and collaborations

• interactivevideotourfeaturingover40minifilms of rehearsals, performances, guided tours and interviews with students and staff

• alumni,studentandstaffprofiles

• newsstoriestailoredtoeveryareaofstudy

• eventscalendarwithdetailsofourlargeprogramme of public performances throughout the year

• dedicatedareaforournewfacilitiesat Milton Court

• linkstooursocialnetworkingsitesand our podcasts on iTunes.

The Guildhall Schoolfounded in 1880 by the City of London Corporation

David Graves Chairman of the Board of Governors

Senior Staff at the Guildhall School

Principal

Professor Barry Ife CBE FKC HonFRAM

Director of Music

Jonathan Vaughan DipRCM (Perf) DipRCM (Teach)

Director of Drama


Director of Acting

Wyn Jones FGS

Director of Technical Theatre

Ben Sumner MBA



Head of Junior Guildhall

Derek N Rodgers LTCL GTCL PGCE

Director of Corporate and Student Affairs

Deborah MacCallum BMus(Hons) BEd

Chief Operating and Financial Officer

Sandeep Dwesar BA(Hons) ACA

Assistant Principal (Research and Academic Development)

Helena Gaunt PhD LGSM (PCS)

All programmes validated by City University, London


‘ The Guildhall is a place of constant innovation, energy and open-mindedness. I became friends with and got inspired by some of the most talented artists and teachers in the world. ’Alison Balsom, Trumpet 2001


How to find us

Guildhall School of Music & Drama Silk Street Barbican London EC2Y 8DT

Tel: +44 (0)20 7628 2571

Web: www.gsmd.ac.uk

By Underground/Train

Barbican, Moorgate, Liverpool Street,

St Paul’s and Bank stations are all nearby.

By Bus

Bus numbers 4, 43, 55, 76, 100 and 153 stop nearby.

By Road

The Guildhall School of Music & Drama falls within

the congestion charge zone, 7am-6pm Mon to Fri

excluding bank holidays.

Tel: 0845 900 1234

Web: www.cclondon.com

Photo credits

CliveBarda•NobbyClark•StephenCummiskey•

GregFunnell•KatieHenfrey•NickJames•Nina

Large•KevinLeighton•AlastairMuir•CliveTotman

Design by Falconbury, London

Printed by Quadracolor.


Guildhall School of Music & DramaSilk Street Barbican London EC2Y 8DT

Tel: +44 (0)20 7628 2571 Fax: +44 (0)20 7256 9438 www.gsmd.ac.uk

AccommodationEmail: [email protected] Tel: +44 (0)20 7382 6132

Acting DepartmentEmail: [email protected]

Tel: +44 (0)20 7382 2323

ApplicationsEmail: [email protected]

Tel: +44 (0)20 7382 7183

Exchange programmesEmail: [email protected]

Tel: +44 (0)20 7382 7183

FinanceEmail: [email protected]

Tel: +44 (0)20 7382 7208

Music DepartmentEmail: [email protected]

Tel: +44 (0)20 7382 7144

RegistryEmail: [email protected]

Tel: +44 (0)20 7382 7181

ResearchEmail: [email protected]

Tel: +44 (0)20 7382 5283

Student AffairsEmail: [email protected]

Tel: +44 (0)20 7382 7219

Students’ UnionEmail: [email protected]

Tel: +44 (0)20 7382 7961

Technical Theatre DepartmentEmail: [email protected]

Tel: +44 (0)20 7382 2323


The Guildhall School is provided

by the City of London as part of its

contribution to the cultural life of

London and the nation

Guildhall School prospectus

Documents

Transcript of Guildhall School prospectus