We are: The Royal Conservatoire of Scotland

We are:

Dance

Drama

Music

Screen

Production

pinning you to your seat

enthralling your senses

flooding you with our dreams

respecting tradition

elite but not elitist

breaking boundaries

defying expectations

pushing our bodies to extremes

wearing out 40 pairs of pointes a year

practising one bar for hours

communicating through technique

rehearsing day and night

in it for the long haul not the sprint

appassionato

vivace

grand allegro

virtuoso

gallus

not the X Factor

the spark that ignites

forging new works

learning from mistakes

working as an ensemble

performing and learning

being the best we can be

training as young professionals

collaborating with our friends

making the world go around

nurturing talent

learning etiquettes

the fire starters

beyond your wildest dreams

BBC Scotland

BBC Scottish Symphony Orchestra

BBC Radio 3

Scottish Opera

Scottish Ballet

National Theatre of Scotland

Royal Scottish National Orchestra

Royal Shakespeare Company

Shakespeare’s Globe

York Theatre Royal

Playwrights’ Studio, Scotland

New Moves International

Classic FM

The Arches

Glasgow’s Concert Halls

Royal Albert Hall

Celtic Connections

Edinburgh International Festival

BBC Proms

The Traverse

The Tron

around the world

doing it for real

building a character

developing a voice

creating movement

making sound

provoking emotion

making everything happen

the unseen and seen

defying stereotypes

raising our game

instilling discipline

the cultural revolution

carving our own path

ready for curtain up

We are:

the Royal Conservatoire of Scotland

We are NOT WhaT yOu ThiNk

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Viviane Hullin, Contemporary Performance Practice student in her degree showcase performance at into the New, part of the New Territories festival.

Welcome

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We Are: the Royal Conservatoire of Scotland

Our first year as the Royal Conservatoire of Scotland brings a mixture of intense

pride in what we have achieved in our history so far and immense gratitude to

those who made it all happen. Over the years the RSAMD has been blessed with

phenomenal staff, incredible, talented students, and an extended support network

of expert professional artists from around the globe. Not forgetting our passionate

supporters, advocates and audiences. Our astounding heritage is who we are today,

it is our make up, our DNA. Yet the disparity between our name as the RSAMD and

the unique breadth of our disciplines became too great: our title had to change.

As the Royal Conservatoire of Scotland we are a testament to all that has gone

before and the augur of so much more in the future. We are building on the excellence

of our past.

Our style is one of a new-model conservatoire. Here, students flourish as

knowledgeable and confident individuals, and both students and staff are inspired

to generate truly innovative work. Everything we do is underpinned by our desire to

achieve routes to mastery. Our students enjoy an extraordinary blend of intensive

tuition, professional partnerships, performances and the creative space to co-create

across the disciplines, if they wish. It’s thanks to this tremendous wealth of influences

and opportunities that each emerging artist excels in their chosen discipline – and

goes further to realise their own individual artistic voice.

But don’t just take my word for it; the stories and voices on these pages speak for

themselves. Together, we are creating the future for performance.

WE ARE DANCE, MUSIC AND DRAMA

WE ARE SCREEN, PRODUCTION

AND EDUCATIONWE ARE UNITED IN EXCELLENCE

WE ARE CHANGING HORIZONS

AND WE ARE CHANGING OUR

NAME

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Professor John Wallace CBE, Principal

We Are Unprecedented

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The Royal Conservatoire of Scotland is at the forefront of the redefinition of conservatoire

education for the 21st century. To be this visionary is nothing new; it’s in our nature. Charles

Dickens, our first Chair, speaking at our inaugural soiree on December 28th 1847, lauded the

boldness of Glasgow in founding such an advanced open model for arts education. Since that

moment we have continued to break new ground and create fresh, relevant models for each age

and stage of our history.

Today, we provide specialized vocational education to professional standards across dance,

drama, music, screen and production. Across all these specialisms, we currently have around 800

students on degree programmes. We have our own degree-awarding powers up to taught

Masters and work with two of Scotland’s most prestigious universities in other areas: the

University of St Andrews validates our PhD degrees; our BEd Music is delivered in partnership with

the University of Glasgow.

Conservatoires traditionally have specialist feeder schools and we are no exception: our

300-strong Junior Conservatoire has nurtured young talent in music for many years and

we are developing to provide parallel provision for dancers. But we go much further than this.

We believe in arts for all. We are an open conservatoire. We make our elite quality available

to those who can benefit from it, providing a wide variety of open access courses for

everyone from early learners to third age returners. Through these, we encourage individual

development at almost every stage across performance and production. It’s another

distinguishing aspect of the ethos we inherited from our founding Chair in 1847.

a WONderful facT TO reflecT upON, ThaT every humaN creaTure is cONsTiTuTed TO be ThaT prOfOuNd secreT aNd mysTery TO every OTher.

Charles Dickens

Images 01/02

Author Charles Dickens who championed the establishment of the New Athenaeum to further education in the arts, and became its first Chair.

The invitation to the inaugural soiree at the New Athenaeum, December 28th, 1847.

Image 03

Compositions by students Chris Duncan and Claire McCue were premiered by Ilan Volkov, Principal Guest Conductor, BBC Scottish Symphony Orchestra and played by our new music ensemble MusicLab. Both pieces formed part of the BBC Hear and Now Concert and were recorded for BBC Radio 3.

We are NOThiNG NeW aNd everyThiNG uNprecedeNTed


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We are:

The ExpectedA conservatoire founded on excellence with:

| intensive learning with high student-

staff contact hours and demanding

production schedules

| ensemble-group teaching underpinned

by one-to-one tuition

| a highly vocational portfolio of higher

education programmes in the making

of performance on stage, screen and

other mediums

| a learning environment growing out of

the industry and cultural professions

| a rich schedule of public performance

opportunities for learning, teaching and

assessment

| strong, active professional profiles of

our staff

We are:

The Exceptional| few conservatoires in the world offer this

breadth of disciplines

| our contemporary, relevant training

ensures our graduates are industry-ready

and equips them to succeed

| our professional partnerships are

extensive and varied

| our curriculum emphasises developing

and assessing the whole person: aesthetic,

intellectual, physical and emotional

| we provide access to excellence for all

with courses aimed at early learners to

third age returners

| our reputation for innovation and new

work goes before us

Our Reason for Being

| create the future for performance

Our Driver

| excellence

Our Vision| be the place where young artists from

across the world converge to become the

artistic leaders of tomorrow

| become the crucible for the development

of Scotland’s national identity as a leading

creative nation

| spearhead the creation of a national

infrastructure for performance arts

education

Our AimTo exceed expectations through:

| a challenging learning experience with

each individual

| the quality and diversity of our students,

staff and partnerships

| resourcing and managing a world-class

artistic learning, teaching and research

community

Our Values Within our learning and artistic community we value:

| each other – we respect the uniqueness of

each individual and the ability to work and

play as a team

| creativity – we are adventurous,

imaginative and innovative

| integrity – we are open, honest and

self-aware

| generosity and sensitivity – we celebrate

equality and diversity

| passion – we bring exceptional depth to

our approach to learning and the arts

Image 01

The repertoire of our Symphony Orchestra is wide ranging, eclectic - and challenging. In 2010 we focused on the Stravinsky Diaghilev Ballets: The rite of spring, petrouchka and firebird, and in 2011 our young musicians played Mahler’s Sixth and Seventh Symphonies, and Richard Strauss’s ein heldenleben with spectacular results.

“aNyThiNG is possible. There should be no limit to the rsamd’s vision or ambition for its students. i might have said this last year after their performance of shostakovich’s fourth symphony. i will certainly say it after the students’ elemental performance on friday night of mahler’s colossal sixth symphony.

The performance was an unmitigated triumph.”

Michael Tumelty The HeraldImage 02

In September 2010, we opened new premises at a cost of £6m. The complex – known as Speirs Locks Studios – includes specialist dance rehearsal space, technical construction workshops, props and wardrobe facilities and additional teaching and office accommodation. A further £2.5m has been invested in refurbishing and improving the Renfrew Street campus with the creation of a digital media suite, developing additional recording studio facilities, refurbishing performance spaces and creating additional teaching and social spaces.

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The Scottish premiere of spring awakening 2010, Edinburgh Festival Fringe. The MA Musical Theatre programme culminates in a three week run at the Fringe with a fully staged production complete with live orchestra and two brand new works by well known writers.

We are The hearT

Of TheNaTiONal culTural

revOluTiON


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We Are The Revolution

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One of our roles as Scotland’s conservatoire is to create cohesion in the

national infrastructure of performance arts education. We partner with Queen

Margaret University, Edinburgh Napier, Sabhal Mòr Ostaig, the Scottish Theatre

Federation and the further education sector to create the Scottish Drama Training

Network.

O u r p a r t n e r sh i p w i t h S ab h a l Mò r O s t a i g go e s f u r t h e r to o, w i t h a

Memorandum of Understanding agreed in 2009 to work together in partnership to

promote and develop Gaelic medium performing arts and in particular to provide

new opportunities in Gaelic Drama Training.

Another key part of our national identity is ensuring that students can

access training in all the performance arts here in Scotland. Testament to this

is the growth in our degree offering with the introduction of undergraduate

degrees in Digital Film and Television, Musical Theatre, Jazz and Modern

Ballet and postgraduate programmes in Musical Theatre, Jazz and Classic and

Contemporary Text – all in the last seven years.

“For the last 30 years young Scottish jazz musicians, in search of full-time jazz

education, have been departing Scotland to study in England, USA, Holland, France

and other parts of the world - but now they have a choice to stay and study at our

full-time jazz course with our stellar array of world-class educators. Our course also

features Masterclasses with jazz legends like Bill Evans, Randy Brecker, Peter Erskine

and Arild Andersen. It is vital for the heart of jazz education to be centred here in

Glasgow, as the city is at the heart of music making in Scotland.”

But not all learning takes place in Glasgow; for the past eleven years the

RSAMD’s Musicworks has been nurturing budding musical talent across

Scotland, working in partnership with local authorities to bring instrumental lessons

to pupils from Primary 1 through to Secondary 6 at its music centres. Musicworks

aims to make music available to young people across Scotland regardless of

geography or socio-economic background. Its open access policy allows interests in

music to be developed and supports new home grown talent to progress to full-time

arts training as appropriate.

Another part we play is as an intrinsic component of Glasgow’s civic life. The

2014 Commonwealth Games will be one of the largest sporting events ever to come

to Scotland and we’re a major player in the accompanying cultural programme.

Our involvement started in 2010 when 80 of our students took part in the Delhi/

Glasgow handover. Now, we are one of the key drivers behind the development of

a new creative quarter for the city. Part of that will be to transform the streets around

us into an Avenue of the Arts, bringing together partners from the arts, hospitality

and the commercial sector to create a new cultural hub.

“The Royal Conservatoire of Scotland has played a critical role in the development of

the performance arts in Scotland over many years. The nation can be rightly proud

of this great institution, which has been ensuring our young artists, creators and

performers can access training and professional practice of the highest international

standards.”

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Siobhan Duncan, Jazz student.

Donnie Munro

Artist/musician, Director of Development, Fundraising and the Arts at Sabhal Mòr Ostaig UHI, the National Centre for Gaelic Language and Culture

Tommy Smith

Saxophonist, Artistic Director, Undergraduate and Postgraduate Jazz


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We Are Connected

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When students come to Scotland’s national conservatoire they join an

artistic and learning community that’s integral to the nation’s vibrant

performance culture. We are uniquely placed to partner with a wealth of

inspiring professionals and artistic companies. Together, we continuously

explore new informal and formal ways to work to our mutual benefit. It’s win-

win, many times over. Artists and companies can cover repertoire they can’t do

normally. Students benefit from the blend of mentoring and real world

experience, working in a professional but supported context. Artists and

companies partner with us in innovation and exploration: we’re an ideal

test bed for new work. There is an essential symbiosis. Students learn from

the wealth of experience; the companies are energized by fresh talent. This

freedom of exchange creates an extraordinary context where the leaders of

today seed the leaders of tomorrow.

Our partners include

Scottish Opera

Scottish Ballet

BBC Scotland

National Theatre of Scotland

Royal Scottish National Orchestra

Shakespeare’s Globe

Royal Shakespeare Company

Playwrights’ Studio, Scotland

New Moves International

BBC Scottish Symphony Orchestra

Classic FM

We are uNiQuely cONNecTed

Image 01

Thomas Baylis, Modern Ballet student.

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Chekhov’s The seagull was performed with a student cast in our own theatre. It was then remounted in collaboration with York Theatre Royal with a mixed company of professional and student actors.

iT’s as ThOuGh Our Walls are TraNspareNT. sTudeNTs iNTerface WiTh The iNdusTry aNd vice versa – There’s NO barrier sO There’s a Gradual TraNsiTiON iNTO emplOymeNT. by The Time They GraduaTe They’ve WOrked WiTh The mOsT impOrTaNT players iN scOTlaNd, The uk aNd iNTerNaTiONally.

Andrew Panton | Associate Head of Performance, Musical Theatre


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Feature | Scottish Opera

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ScottiSh opera

AN ExCEPTIONAl WORkINg RElATIONShIP

A N D T H E W O R L D P R E M I E R E O F T H E O R I G I N A L V E R S I O N O F

P R O k O F I E V ’ S Wa r a N d p e a c e

Our opera training has acquired an international

reputation that attracts singers from all over the

wo rl d to s t u dy w i t h u s , a l o n g s i d e o u t s t a n d i n g

homebred t a l e n t . O ve r t h e p a s t f ive ye a r s , a n

exc e p t i o n a l working relationship has emerged with

Scottish Opera. And this relationship benefits more

than just our singers : music ians, stage managers

and technic al artists all enjoy career development

opportunities as students with the company.

Since 2009, the Emerging Artist Scheme has given

graduate opera students the opportunity of a lifetime:

a ye a r o f f u l l - t i m e wo rk w i t h S c o t t i sh Opera to

launch their careers. Primarily, singers gain intensive

performance experience through understudying or

shadowing of principal roles.

They a lso cont inue advanced voc al coaching ,

a c t i n g , m o v e m e n t a n d l a n g u a g e s e s s i o n s a n d

receive professional mentoring on working in the

industry.

“We’ve worked hard with the Royal Conservatoire

to create a fantastic programme, which provides

a n e xc i t i n g , p r o f e s s i o n a l , s a f e y e t c h a l l e n g i n g

environment where some of the best young singers

can be nurtured and encouraged as they begin their

careers.” Alex Reedijk Director General of Scottish Opera

But the full depth of the relationship is embodied

by an opera staged every year at the Theatre Royal

Glasgow and Festival Theatre, Edinburgh. In 2010 this

was the epic world premiere of the original version

of Prokofiev’s War and peace . In 2011, we revived

David Pountney’s original production of Janácek’s The

cunning little vixen and January 2012 sees Prokofiev’s

betrothal in a monastery .

Images 02/03

Lisa Milne, Soprano, conducting a masterclass with Emerging Artist Marie Claire Breen.

Britten’s albert herring (2011). One of two operas staged in-house every year with all design and production by Technical and Production Arts students under professional mentors.

Image 01

Matthew Topliss, Modern Ballet student, in the role of Dragonfly in Janácek’s The cunning little vixen (2011), an RSAMD/Scottish Opera production. Matthew has since been asked to join Scottish Ballet for their production of sleeping beauty.

020 021

War and PeaceBased on Prokofiev ’s original score, War and Peace brought together 75

students from our conservatoire and the Rachmaninov Conservatory of Rostov

on Don in Russia, with The Orchestra of Scottish Opera. Directed by Irina

Brown, the resulting work was of epic proportions, playing to sold-out houses

in Glasgow and Edinburgh and receiving 4 and 5 star reviews. Its quality was

recognised further afield wh e n i t wa s n o m i n a t e d f o r a p r e s t i g i o u s Ro y a l

P h i l h a r m o n i c S o c i e t y Award in 2010.

As well as students playing all roles, conservatoire musicians auditioned

to play as part of The Orchestra of Scottish Opera, and Scottish Opera’s senior

specialist artisans and technicians mentored our costume makers, set builders

and stage technicians throughout the process.

“As students we were active Stage LX crew and board operators and had to do

everything that a professional lighting crew would do – so we got to know first

hand how it’s done in the industry. I feel the collaborations between other

theatres and the Royal Conservatoire is the best thing they can do – you get

to work with real professionals and make contacts. Now, I’m Scottish Opera’s

Charge Hand – I’m in charge of employing lighting technicians and am part of

the production team that preps and builds all their productions. Over the next

year I’ll be touring on a number of different operas.”

Alumnus Barry McDonald | Charge Hand with Scottish Opera

“Of all the collaborations the Royal Conservatoire has with the professions,

its connection with Scottish Opera is the most unique, simply because

students have their own orchestral part. Through the long term mentoring

scheme we see their confidence grow and a heightened sense of musical

awareness develop because they are involved in the whole process from the

first orchestral rehearsal, sitzprobe, stage and orchestra, through to playing in

every performance. Students perform in Scotland’s two opera houses. Words

of wisdom are passed down during rehearsals from orchestral members and

the students begin to see what is expected of them in the profession. At the

end our report gives useful criticism on individual progress. It has borne fruit

as graduates have been invited to play professionally in every section within

The Orchestra of Scottish Opera. The apprenticeship allows them to forge this

association with the company.”

lawrence gill | Sub-Principal, clarinet, The Orchestra of Scottish Opera


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Feature | BBC Scotland

023

In 2009 we signed an historic agreement with the BBC so that students

from many disciplines could learn their craft inside the BBC’s professional

environment. It’s a perfectly symbiotic relationship and goes from strength to

strength.

“This has provided a fantastic opportunity for BBC staff to work with one of the

country’s leading academic organisations and we have already seen benefits in

our programme-making from working so closely with the students and staff of

the Royal Conservatoire.”

Musicville

musicville was a project which encapsulates so many of the benefits of this

unique relationship. It was devised and filmed by students, on a BBC set, with the

support of the BBC’s First Assistant Director and Director of Choreography.

“musicville started small but, as happens with passionate creativity, the project

quickly blossomed into something truly unique. A musical-film collaboration

between Digital Film and Television students and Musical Theatre students,

we worked together to write the script and the songs, and under the direction

of Andrew Panton we shot the film on the river city set with guidance and

support from BBC Scotland. It began life as a module. But by turning a module

into an experience, we learned the skills in a work environment that was truly

representative of the industry. Working with BBC crew was a really amazing

experience for everyone involved.”

Our relationship with the BBC Scottish Symphony Orchestra is also

extraordinary. Students audition for places on side by side and mentoring

schemes, as well as opportunities to perform concertos in public performances.

They learn in a professional context and have performed in professional

auditoria inc l u d i n g t h e C i t y Ha l l s i n G l a s gow a n d London’s Royal Albert

Hall for the BBC Proms.

A MEMORANDuM Of uNDERSTANDINg

BBc Scotland

ken MacQuarrie

Director, BBC Scotland

gavin laing

Alumnus

Images 01/02

Musical theatre students being filmed in musicville, on the set of River City.

Musical Theatre students have also appeared on John Barrowman’s primetime TV programme Tonight’s the Night as the regular show choir and on BBC children in Need.

gavin laing | Digital Film and Television alumnus

This WasN’T a lecTure aNd iT WasN’T a masTerclass: This Was WOrkiNG TOGeTher WiTh aNd learNiNG frOm peOple WhO dO WhaT We aspire TO.


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Feature | BBC Scotland

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Much Ado About Music

much ado about music was a collaboration with the BBC SSO that consisted of

a semi-staged performance of Shakespeare’s comedy much ado about Nothing

along with incidental music by composer Erich korngold. Students from our

BA Acting programme joined with leading professional actors, including

alumna Daniela Nardini, as well as Masters opera student Stephen Chambers,

with the concert recorded for broadcast by BBC Radio 3.

“Working with professional actors is one of the most useful and enlightening

things you can do as a student of acting. You get to share time, thoughts and

ideas with people who are more experienced in their craft, particularly in a

professional context. A great thing about this piece was the chance to work

with Jonathan Best , director, and Ryan Wigglesworth, conductor and the

orchestra themselves. Although you are a collective of people from varying

backgrounds of performance, be it director, musician or actor, you quickly

realize there is very little difference in how you bring the piece together;

you are striving towards the same means, as with any production. You still

have to develop that same sensitivity, respect and openness for your fellow

performers. This in itself reminds you of your place within the context of

performance. As an added bonus it makes you up your own game; it’s a bit

daunting following an orchestra that doesn’t put a note wrong. I found this

whole collaboration thoroughly enlightening and enjoyable and it is the word

‘collaboration’ and what it means that I’ll take away with me. It’s a sensitivity,

a love, a dedication and a respect that does and must exist at the heart of any

form of great performance. Past, present and future.”

“The RSAMD also gave me the opportunity to sing as a soloist in Vaughan

Williams’s serenade to music with the BBC SSO in the Proms 2010, conducted

by Donald Runnicles. Singing as a soloist with an orchestra of this calibre on

two occasions in the past two years is a phenomenal opportunity and one that

I don’t believe could be matched by any of the other Royal schools in the Uk.”

Conducting fellowship

Donald Runnicles, Chief Conductor of the BBC Scottish Symphony Orchestra,

is one of the most highly regarded conductors in the world. The Conducting

Fellowship scheme provides the opportunity for a student to work under his

tutelage during their studies at the Royal Conservatoire of Scotland. Jessica

Cottis was Conducting Fellow from 2009 to 2011.

“ The Fel lowship repre sent s , for me, the perfec t combinat ion of listening,

learning, practice and fruition – no other gives anywhere near the same

possibilities. It honed my skills and also developed the many-faceted leadership

and communication skills required for a conductor today. Particular highlights

include working closely with Donald on works such as Ravel’s daphnis et chloé ,

Wagner’s die Walküre , and Mahler’s 1st, 3rd, 4th and 8th Symphonies. I’ve gone

on to conduct the BBC SSO professionally on several occasions, most notably

in the recent world premiere of James Dillon’s Nine rivers , and in the last

two years have also made my BBC Proms debut with the RSAMD’s MusicLab

Ensemble, conducted over a dozen premieres, worked on operas such as le

nozze di figaro , War and peace , and albert herring , conducted education

concerts with the BBC SSO and Sistema Scotland, and shared the podium

with Donald Runnicles himself. My musical journey within this world-class

partnership over the last two years has been incredibly rewarding and, with my

debuts at Scottish Opera and Nuremberg Opera, amongst other engagements,

lined up for 2012/13, I am already well on the way to a successful conducting

career.”

Jessica Cottis

Alumna/Conductor

Martin McBride

BA Acting student

Stephen Chambers

Alumnus/Vocalist

Images 01/02/03

Part of the collaboration with the BBC SSO is the unique opportunity for our conducting students to be coached by Donald Runnicles, General Music Director of the Deutsche Oper Berlin and Chief Conductor of the BBC Scottish Symphony Orchestra with the full orchestra. This masterclass was open to the public and recorded by the BBC.

Jessica Cottis,Alumna/Conductor.

Students can audition to play side by side with the BBC SSO, Royal Scottish National Orchestra, and Scottish Ensemble, providing an exceptional learning experience for outstanding young talents.

BBc ScottiSh Symphony orcheStra

The launch of the undergraduate Modern Ballet

p r o g r a m m e i n 2 0 0 9 m e a n s w e a r e t h e o n l y

conservatoire in the Uk to teach the three main

art ist ic disc ipl ines of music , drama and dance at

conservatoire level. The programme is delivered in

collaboration with Scottish Ballet, under the artistic

direction of Paul Tyers, Deputy Artistic Director,

Scottish Ballet.

According to Nicolas Blanc, Ballet Master, Joffrey

Ballet , Chicago who is closely involved with the

programme “The school of dance represents a unique

opportunity to train in both classical tradition and

contemporary technique. This dual training is now

demanded by many of today’s best dance companies.

Furthermore, it gives the students the chance to obtain

a BA in Modern Ballet, which will help them to also

pursue a pedagogical career later on if they wish.”

The existence of the degree allows us to nurture

exceptional talent in Scotland in a way which was

never possible before . Already Matthew Topli ss ,

only in his second year, has been chosen to perform in

Scottish Ballet’s sleeping beauty production. He has

got this on his own talents – not just because of the

Royal Conservatoire – but the close links meant that

he was very much on the radar.

It wouldn’t have been possible to support a

programme like this without professional facilities

and creating physical space suitable to the needs of

our young dancers was of huge importance. That space

came to life in the development of the new studios

built at Speirs Locks.

In an article at the time of the launch, Mary Brennan

of the Herald said “Nine months ago, the rsamd’s new

high-spec studios were a rat-infested warehouse – now

they define the future for developing the arts in scotland.

it’s an unexpected Tardis moment. On the outside, the

new speirs lock studios on Glasgow’s Garscube road

resemble a long, low unit of brisk industrial storage.

step inside, however, and you enter an airy, expansive

complex giving the royal scottish academy of music and

drama the kind of workshop facilities most dance or

theatre companies can only dream about.

high ceilings with natural light flooding in through

generous skylights combine with a ventilation system

geared to hard-working bodies with muscles that require

a certain level of warmth.

for paul Tyers, head of the ba (modern ballet)

department, the new studios are like a home from

home. “you don’t want conventional air-conditioning

when you have dancers standing doing exercises at the

barre. The cold air hits them like wind chill,” he says.

“and you don’t really want the noise either. and for

me, this kind of care – the finish in the building, the

space provided so we can have a pilates studio and even

a quiet room for dancers to relax in – is amazing. This is

the standard we have at scottish ballet – a standard not

every dancer enjoys either during training or even in

their professional career.”

Feature | Scottish Ballet

026

Feature | National Theatre of Scotland

027

ScottiSh Ballet

Image 01

Nicolas Blanc, Ballet Master, Joffrey Ballet, Chicago, working with students in the new studios at Speirs Locks.

Image 01

Emun Elliott in the 2008 production of National Theatre of Scotland’s production black Watch which also featured Ryan Fletcher and Duncan Anderson, (final year acting students).

national theatre of Scotland

The Royal Conservatoire has enjoyed a close working relationship with

the National Theatre of Scotland since its creation in 2006. Our Vice

Principal Maggie kinloch is a founding member of the NTS Board and Vicky

Featherstone, Artistic Director of NTS, serves on the Conservatoire’s Board of

Governors. Alumni Simon Sharkey (Associate Director NTS Learn) and Niall

Black (Technical Director), fulfil senior roles in the National’s organization

and our graduates and current students are regularly employed in a range of

technical, administrative and artistic roles.

Our production staff and students have close and frequent interactions

with the company which include masterclasses as well as student placements.

The acting company for the most recent international tour of the immensely

successful black Watch included one final year Acting student, Jack Lowden,

and three recent graduates, Scott Fletcher, Adam McNamara and Stuart Martin. The

2009 Uk tour of peter pan starred two of our then second year actors kevin Guthrie

(Peter) and kirsty Mackay (Wendy). Royal Conservatoire performance students

(Acting, Contemporary Performance Practice and Musical Theatre) also benefit

from our partnership with the National Theatre

in the biennial event diaspora . diaspora aims ‘to

br ing the atre ar t i s t s to gether to connec t with

each other and have a conversation as a theatrical

community that reaches across the world.’ For our

students this is a phenomenal opportunity to mix

with leading practitioners from different countries

a s t h e y sh a re , d i s c u s s a n d demonstrate their

practice with Scottish artists. The explorations are

supported through a programme of masterclasses,

workshops, sharings and discussions. In 2011 our

workshops were hosted by the Traverse Theatre in

Edinburgh and we welcomed eminent artists from

Argentina, India, Sweden, the USA and the Uk.

(Photo: Manuel Harlan)

Image 02

MA Classic and Contemporary Text is an intense programme which sees acting and directing students spending a month at Shakespeare’s Globe in London working with resident artists, before going on to develop new work with leading Scottish playwrights in their third term. These new works are staged at external venues such as the Tron, Glasgow and the Traverse, Edinburgh before heading to London.

Adam McIlwaine | Head of Production Technology

yOu caN have TaleNT, buT TaleNT dOesN’T alWays eQuaTe TO a susTaiNable career. WhaT We dO is NurTure ThaT creaTive spark aNd TurN iT iNTO aN emplOyable cOmmOdiTy.


028

We Are In Touch

029

This focus on supporting students to develop the professional know-how

and etiquette they will need to build a successful career is something we are

proud of. We take pains to provide many types of opportunity to learn from the

experts. That’s why we arrange for numerous directors, artists and designers

to visit regularly and keep our students in touch with what is happening out

there, at the leading edge.

While we are based in Scotland, our bigger context is the international scene.

We prepare our students to work anywhere in the world. Our International

Fellows Scheme welcomes world renowned artists to spend set periods of time

with our students every year, broadening students’ horizons and exposing

them to inspiring artists of the international cultural and creative industries.

Our international outlook is reflected, too, in the diversity of our staff and

students, and in our repertoire: there are many collaborative projects with

international partners from St Petersburg to Sydney.

We are iN TOuch WiTh

The WOrld

Image 01

We are lucky to have some of the world’s most prestigious artists as our International Fellows. Usually spending around three weeks a year working closely with students, they provide an exceptional dimension to learning and finely honing individual talent. Here pianist Stephen Osborne works with a student.

031030

Image

In the 7 years the Digital Film and Television programme has been running, students have: won two BAFTA Scotland New Talent awards; been nominated for a British Academy Award for Best New Work; won five Royal Television Society of Scotland awards for Best Undergraduate Fiction and two national Royal Television Society awards for Best Undergraduate Film; had numerous winning entries in Scottish Students of Screen; and been runner up in the BBC Film Network, Best Comedy Short and the kodak Prize for Cinematography.


032

Feature | Scottish Music

033

tranSatlantic collaBorationS

S C O T T I S H M U S I C

“Meeting other musicians abroad who are studying the

same type of degree was a great experience. Seeing

first-hand the passion and drive that the Boston

students feel for their music was unbelievable –

amazing ideas developed throughout the rehearsals

and from just sitting around playing together, really

pushing the boundaries. Throughout our different

ventures, we discovered lots of interesting crossovers

that have occurred in Scotland’s music over the years

and being able to get that across to audiences and let

them hear it was a great opportunity. It allows people

to see the path that our amazing music has taken over

the years as well as getting people excited about where

it is now.

Being able to go out to Boston in 2010 and the

Lorient Festival in France this year has really allowed

us as players to experience first hand the rehearsing

and the touring aspec t of being a music ian. Working

collaboratively as part of a group of 15–20 players is a

skill that we are all only able to develop and enhance

by actually doing it!”

grant Mcfarlaneaccordion student at the Royal Conservatoire of Scotland.

Begun in 2010, this unique collaboration, The Atlantic Seaway Project , looks at how Scotland’s traditional

and contemporary music has travelled around the world. It is a partnership project with the University of

Strathclyde and Berklee College of Music in Boston. In the first project, Uk students met their counterparts in

Boston, and devised and performed new pieces at the New Hampshire Highland Games; in the second, Berklee

students came to the Uk and participated in Celtic Connections International Festival; in the third rendition,

all students worked together at the Lorient Festival in France.

“We had worked up three big sets that we were

going to perform – Gaelic songs, Scottish Traditional

music and American old-time tunes that have

developed from the original Scottish tunes. They have

the same name and possibly the same key but otherwise

are completely different. We had taken and reworked

these tunes before sharing them with the Scottish

students. The group worked so well together and

everyone was inspired by everyone else. When we

went to the New Hampshire games it was amazing

to have the US and Scotland students performing

together. In January 2011 the seven Berklee students

came over to Scotland and we played at Celtic

Connections. It was a crazy week as we were all

so busy. We played in the Strathclyde Suite and

recorded for BBC ALBA TV. It was really inspiring

and for the American folk, their first time in Scotland. It

was fantastic to have the exchange of musical ideas

and perform in both countries. I think it was a great

opportunity and it really opened up our eyes as

to what’s happening in the trad scene. I think it’s

really important for folk in the US to see that there

is progressive trad music happening. It’s been a slow

process for people to grasp onto and see that it’s not

just ‘hokey’ music.”

hannah Readfiddle player, singer and student, Berklee College of Music, Boston, USA.

Image 01

Lauren Weir, Scottish Music student.

Images 02/03

The Artistic Director of the Scottish Music programme is one of Scotland’s most well known traditional musicians, Professor Phil Cunningham. The Piping programme is run in conjunction with the National Piping Centre.

Students take part in Glasgow’s Celtic Connections Festival every year, now one of the world’s most renowned traditional music festivals featuring 1500 artists over 18 days.

With the bedrock of a solid education in tr ied and tested classical

techniques, we encourage exploration of new territories. We provide the right

conditions for our staff, students and external practitioners to roam across

the scope of their imaginations and create new work.

New Moves International, producers of the award winning New Territories

festival, has worked in partnership with the BA Contemporary Performance

Practice programme for many years. In 2009 it brought the Contemporary

Performance Practice annual degree showcase into The New , under the wings

of the festival to give it a much deserved international profile whilst

highlighting the uniqueness of the course in the Uk.

Since 2010 graduating artists have also been supported by the festival’s

Athena Programme that partners two individual graduating artists with

mentors most suited to their practice, offering a year where the artists can

continue to flourish under the guidance of a professional artist/teacher who

is well respected in their field. The first year out of the support structure of an

academic institution can be challenging for emerging artists and the Athena

Programme offers one solution to such a challenge.

“NRLA is an unrivalled opportunity to engage with some of the world’s

most innovative, radical talents and with work that resolutely crosses

boundaries of form and cultural taboos.” Mary Brennan, The Herald

“NRLA is one of the world’s artistic wonders. Each year in Glasgow an

international community of artist-innovators of all ages, disciplines,

and inclinations congregates to remind one another of the things they

believe in. Be prepared to have your life changed.” Michael Mayhew, 2008

“Taking part in The National Review of Live Art as a student is a mind-

blowing experience – what you are looking at are things you have

never seen before – the kind of performance work is totally out of

your understanding in a sense. Being in a community of people who

have such a diversity of world views is amazing and it teaches you so

much about the ways of looking at the world, which aren’t necessarily

the way we are asked to look at the world all the time.”


034

We Are The Spark

035

We are The spark ThaT iGNiTes

NeW WOrk

Image 01

Stephanie Elaine Black in her devised performance for into the New, part of the New Territories festival.

Images 02/03

Students on the Contemporary Performance Practice programme are provided with multiple opportunities to explore performance in different contexts. These include working in prisons, schools and with community groups. Many gain experience as tutors on our short courses for children.

Nic green is a graduate whose production Trilogy was a run away success at the Edinburgh Festival Fringe 2009 before transferring to the Barbican, London

Feature | Douglas MaxwellWe Are: the Royal Conservatoire of Scotland

036 037


036

WatertightfEATuRE ON NEW MuSICAl WAtertight

B Y P L AY W R I G H T D O U G L A S M A X W E L L

Watertight brought together Douglas Maxwell, composer Richard Taylor and

director Philip Howard, and commissioned them to develop a new musical with

students on the MA Musical Theatre programme. The production was developed

with the support of Playwrights’ Studio, Scotland.

“I’ve worked with students here on and off over the past ten years. I’ve worked with

actors, directors, musicians, composers and now musical theatre students and it’s

always like morning – it’s like starting afresh and it’s optimistic.

This is brand new for me, writing musical theatre, working with composers and

singers and that has been absolute joy – they work so hard, they’re so talented and

it’s a complete pleasure.

Watertight is a story that everyone’s very excited about, it’s something from

nothing that’s absolutely tailored to each of those students and that’s really exciting.

I’m out of my comfort zone with the script and Richard’s out of his comfort zone

too and Philip the same. I’ve got that tingly feeling that this one could be really good.

And that’s something that doesn’t happen much.

In a conservatoire atmosphere you’re encouraged to experiment but it’s also

protected so the experiments become far more exciting and dangerous. But there

are certain fixed things as well, certain people, certain accents, so on the one hand

you’ve got restriction and on the other hand you’ve got complete and utter freedom

and that’s a good mix for pushing really great work through.

We’re all learning something new and that’s been an experience for everybody.”

i’ve GOT ThaT TiNGly feeliNG ThaT This ONe cOuld be

really GOOd.


038

Feature | Plug

039

plugA NEW WORkS MuSIC fESTIVAl

C O M P O S I T I O N A N D B A L L E T

Claire McCue

Alumna/Composer

Anna Clifford

Student/Modern Ballet

Plug is our annual contemporary music festival dedic ated to f irst

performances of new works by students and staff. Now in its sixth year and

with over 300 new works under its belt, Plug continues to be a highlight in

Scotland’s musical calendar.

“One of the highlights of my year was working with BA Modern Ballet dancers,

resulting in an exciting choreography-composition collaboration. I composed

t wo d i f fe re nt p i e c e s a n d wo rke d c l o s e ly w i t h o n e choreographer in

particular, Anna Clifford, creating a substantial piece of work, fragmented

for 13 musicians and five dancers, where the concept , choreo graphy and

music we re t r u ly i n te g r a te d f ro m t h e b e g i n n i n g . Fol lowing a successful

l ive performance at Plug, this was then given a repeat performance in the

Modern Ballet degree programme’s end of term show, and I’m working with

the choreographer again to create a more ambitious work this year. As well as

facilitating vital recordings of your compositions, many of the concerts also

receive professional reviews and press coverage. This year another student,

Chris Duncan, and I were fortunate to be involved in a collaboration with the

BBC, to compose a piece which was performed by Musiclab and conducted by

Ilan Volkov as part of the BBC Hear and Now concert at the Old Fruitmarket

on the final night of Plug. It was later also broadcast on BBC Radio 3. For me,

participating in and reflecting on Plug was an invaluable experience and

helped me spread my wings as a composer.”

“I choreographed a nine minute piece in collaboration with Claire McCue for

Plug 2011 and it was the highlight of my year. fragmented was inspired by

the colour red; the contradictory nature of its connotations - freedom versus

war, confidence versus fear - made it an interesting influence on the work,

leaving space to explore its symbolic and emotional meaning. Claire and I

worked together throughout the creative process, brainstorming, creating and

critiquing. The amazing advantage of making an original piece is that there

is always room for modification. If my vision required another four bars,

Claire composed four additional bars and if the sound of her score evolved

into something different, I was able to change the dynamic or speed of the

movement. I learnt to trust my instincts and have faith in my innovation, and

however terrifying that may have been it made the

project real. Plug is an opportunity to explore and

express your creative dreams. It’s a chance to bring

your ideas to life and learn from the process.”

The herald

scOTlaNd’s mOsT ambiTiOus aNd dariNG NeW music prOjecT… iT’s NOT a fesTival, iT’s acTually a pheNOmeNON.

Image 01

Thomas Baylis and Natasha Robertson, Modern Ballet students in fragmented, composed by Claire McHugh and choreographed by Anna Clifford.

Image 02

Steve Forman, PhD student performing in Plug.


040

We Are Collaboration

041

We are The caTalysT fOr

cOllabOraTiON

We’re the only conservatoire in the Uk to offer

such a rich range of artistic disciplines – and there

are few in the world offering the same breadth.

One of the key benefits of this is that we can encourage

students to initiate and develop ideas with those

from other disciplines. This, in turn, lends fresh

perspec t ive to the student ’s own ar t fo r m a n d

e x p a n d s i t s p o t e n t i a l . T h e s e i n s i g h t s d e v e l o p

i nte r p e r s o n a l sk i l l s a n d t h e ab i l i t y to lead and

innovate. As a result we provide a perfect platform for

research into the performance arts.

“The way to thrive and grow as an artist is to listen.

After working in many different countries, with many

writers and librettists, directors and dramaturgs, stage

managers, set and costume designers, I now realize that

creating music and theatre requires non-hierarchical

participation from experts in all these areas. Risks

are taken and trust is required, but something more

than the sum of parts is possible when everyone has

a compelling reason to be involved – a stake in the

process and genuine ownership of the result.”

Dr gareth Williams

D r g a r e t h W i l l i a m s

Our excellent RAE 2008 result showed that 85% of

the Academy’s research in music is of recognised

international quality. Gareth Williams was attracted

to our thriving research programme because he

could pursue his artistic research, work with artists

across a spectrum of disciplines and take advantage

of our professional contacts. His PhD gave him the

creative space to explore and develop his unique

compositional voice. The culmination of his studies

was love in the blue corner (2006), a fully staged

chamber opera involving a full-sized boxing ring.

His career has flourished as a composer of operas

including The king’s conjecture (2008, libretto

Bernard McLaverty), for Scottish Opera, The sloan’s

project (2011) combined with a teaching post in

composition and creative and contextual studies at

the Royal Conservatoire, inspiring the next generation

of composers.

Image 01

Lynn Ferguson in Edwin Morgan’s Gilgamesh. Gilgamesh brought acting and music students together in this verse play translation of the Sumerian epic.

Image 02

love in the blue corner, a fully staged opera by Gareth Williams involving a full-sized boxing ring.


042

We Are Elite

043

It’s important to us to make our conservatoire-quality provision open to

as many people as we can, encouraging individual development at every

stage. This includes everyone from youngsters from as far away as the Scottish

Highlands and the North of England travelling through for the Junior

Conservatoire of Music on Saturdays, to experienced professionals and

teachers pursuing professional development. In fact, we offer many courses

outside the core undergraduate and postgraduate degrees. Conservatoires

traditionally have specialist feeder schools and we are no exception with our

Junior Conservatoire nurturing young talent in music and dance. There are

also a growing number of specialized summer schools, weekly c lasses ,

evening and weekend courses across dance, drama, film, production and

music, and numerous short courses.

“I’ve been coming here since I was ten. We didn’t have drama at school so it

was always something to look forward to - five hours every week, which was

more fun, more practical and everyone got on.

It’s like being part of a family – everybody works together and everyone

wants to make a good play. Every single play I’ve done has been to a

great standard. The tutors are supportive and it has been quite stressful

as well because you’re young, you’re scared and on the night it feels

like you’ve been punched fifty times in the stomach. Then you go on

and you say your first line and it just goes away and you just enjoy

yourself. And then you take that final bow and it’s the best feeling

ever.

It’s like having another parent when you come in here - they are

so wonderful. We’re all here because we all share the same wishes

and dreams and they are the perfect people to guide you in that

direction.” Nebli Bahia Drama class student

We are eliTe buT NOT eliTisT

W E A R E N u RT u R I N g TA l E N T AT E V E RY Ag E A N D STAg E

Image 01

Ryan McLaughlin, one of our drama course participants in blackout by Davey Anderson.

Images 02/03

Our Junior Conservatoire of Music is for talented young musicians aged 7 to 18. We welcome 300 students every Saturday from as far away as the Scottish Highlands and the Lake District.

Open access courses for young people start at 6 months for our Early Years music programme and aged 5 for our drama courses.


044

We Are At The Top

045

World-class talent and tuition demand nothing less than first-class

facilities: a prerequisite of the conservatoire experience. We believe excellent

facil it ies support excellent performances; that’s why we value them. Our

facilities are amongst the best in Europe and are being enhanced through

additional investment in a three-stage programme, to ensure our competitive

position. They facilitate nearly 500 performances every year, with around 40,000

tickets issued every year.

Stage 1 saw the opening of Speirs Locks Studios in 2011 . The development,

by renowned Malcolm Fraser Architects, provides expanded accommodation

for Technical and Production Arts, Musical Theatre and Modern Ballet,

including four large high-specification dance and musical theatre rehearsal

studios and design, set and wardrobe construction studios. This development

puts the Royal Conservatoire at the heart of an ambitious urban regeneration

programme supported by Glasgow City Council. It is a cornerstone in the

creation of a hub of artistic activity in this part of the city, with our partners

Scottish Opera and the National Theatre of Scotland directly adjacent.

Stage 2 involved intensive refurbishment of facilities at Renfrew Street,

providing enhanced IT facilities with a digital lab and second recording studio

in addition to the existing two concert halls, a black box studio, proscenium

theatre and the prestigious Alexander Gibson Opera School.

Stage 3 will see further development at Speirs Locks to provide further

rehearsal facilities.

Stage Technologies

In 2008 we introduced specialist training in stage automation using a state of

the art system from industry giants Stage Technologies. In so doing, we became

the world’s first industry-endorsed training provider of this equipment, used

in major productions around the world.

RED One

With the acquisition of the RED One digital cinema camera, students on the

Digital Film and Television programme became the first in the Uk to shoot in

RED HD Cinema. In 2011 this was supplemented by the purchase of the RED

Epic, meaning our facilities for shooting film and television are unsurpassed.

We are aT The TOp Of Our Game

Image 04

The New Athenaeum theatre, one of six professional standard venues at our Renfrew Street campus.

Images 01/02/03

Madeleine Hillmann, Technical Production Arts student testing out the flying equipment.

Our Technical Production Arts programme is based on hands on, practical learning supported by excellent facilities including a full size paint frame, wardrobe and costume making studios and props workshops. Students gain an immense amount of practical experience working on the vast range of productions staged at the Royal Conservatoire, and externally, when they are mentored by industry professionals.


046

We Are Supported

047

from our first day as the glasgow Athenaeum in 1847, visionary thinkers

and supporters at home and abroad have enabled us to grow and flourish.

Our vision and values are inspired by 165 years of solid experience and we

are fortunate to enjoy deeply seated support nationally. The Scottish Funding

Council has been especially important in this regard.

As we move forwards, the responsibility for funding our work must now

be shared by a much larger and more varied circle: charitable trusts and

foundations; corporate organisations; individual donors; people who leave

a legacy or bequest; regular ticket buyers; event attendees, and the many

artists who participate in the performances we produce each year. Together,

our supporters are helping us continue to produce world-class artists, develop

new academic initiatives, provide the best learning environment and offer

outstanding experiences for our audiences.

Every grant, donation, legacy or ticket bought makes a difference and

affects every student and every teacher, every day. It means that the very

special experience we offer to young artists starting out on their careers can

continue to evolve.

Puleng Mabuya, alumna, Technical Production Arts

S o u t h A f r i c a n P u l e n g M a b u y a i s a Te c h n i c a l

Produc tion A r t s g rad u ate a n d a member of the team

who won ‘Stage Design Team of the World’ at OISTAT

in South korea.

“I received a bursary from the National Arts Council

in South Africa and a scholarship from the RSAMD,

not to forget several private sponsors. To be honest I

couldn’t have made this dream come true if it wasn’t

for the help of these people. In my years in Scotland

I met and had a few lessons from Mr Francis Reid,

Pamela Howard and Joan Armatrading. Meeting them

taught me a valuable lesson: dreaming big is vital and

never ever lose sight of your goals or dreams because

you don’t know what tomorrow holds for you.

I was truly blessed to be a member of the team that

went to South korea. I did sound design for the project

and I’ll cherish the experience of winning the award

for the rest of my life. I’ve just come back from

kinshasa, Democratic Republic of Congo, for their

International Festival - I went there with Vuyani Dance

Theatre as a Technical Manager for the dance piece

called beautiful me by Gregory Maqoma.”

Sean Shibe , student, award-winning guitarist

Guit ar student Sean Shibe, won the prest ig ious

international Royal Overseas League’s Award in 2011,

the second guitarist ever to have done so.

“My tutor encouraged and pushed me, and prepared

me for competitions and concerts in a way that I feel

no other teacher could have done. He brought the

cream of the guitar world to the Academy’s doorstep,

not uncommonly resulting in engagements that are

testament to his intimate understanding of the ever-

changing industry. The Academy has been of great

help in generously funding my forays into many

international competit ions abroad – without the

significant support that I received, I almost definitely

would not have been able take part and achieve so

much.”

We are The resulT Of Our suppOrT


048

We Are One Step Ahead

049

As a result of our new curriculum our

graduates will:

| Be excellent and reflective arts practitioners –

able to lead, create, achieve and innovate.

| Have the creative attitudes and skills for working

with others and be able to work well with

ambiguity and unpredictability.

| Be able to take responsibility for their own

professional development and be resourceful,

independent and effective in their approach to

managing their life and work.

| Have insight into a diversity of artistic fields

and experience of what is required to succeed in

their individual arts practice. They will be

professionally oriented, have an entrepreneurial

outlook and be able to respond positively to the

challenges and opportunities presented by a fast

changing and dynamic world.

| Have the theoretical understanding to inform

their practice and for their practice to inform

theory. They will have sophisticated aesthetic

intelligence, integrity and insight with the

ability to think analytically and critically.

| Have a clear understanding of how their art

form connects to the world around them.

O u r g r a d u a t e s a re e n t e r i n g a d i f fe re n t wo rl d .

The environment of the performance arts is changing

and will continue to evo lve . We ’ re a l re ady k n ow n

fo r d eve l o p i n g graduates who are best equipped

with the skills they need for their careers. Over the past

three years we have been working with staff, students

and a panel of international experts to take this one

stage further. Our new curriculum which is introduced

in academic year 2012/13 builds on our reputation for

developing reflective and adaptable artists by creating

the space and support for this to flourish. Each student

will be exposed to an even richer variety of influences

to encourage their unique qualities as an artist .

It creates the space for not just disciplinary excellence

but the opportunity for transdisciplinary work.

Our new curriculum

| Develops excellence alongside high levels of

reflection.

| Fosters the creative attitudes and skills needed for

collaborative learning in and through practice.

| Enables student to take responsibility for

managing and evaluating their own learning.

| Provides students with insight into a diversity of

artistic fields and experience of what is required

to succeed in their individual arts practice.

| Develops the ability to use theoretic

understanding to inform practice and practice

to inform theory.

| Enables students to make a contribution in the

world as artists, educators, advocates and

active citizens.

We are ONe sTep ahead

“The NeW curriculum Will prOduce iNdepeNdeNT,

ThiNkiNG arTisTs WhO Will push The bOuNdaries raTher ThaN peOple WhO

Will fiT iNTO aN OrThOdOxy; The rOyal cONservaTOire Of

scOTlaNd Will be a crucible Of iNNOvaTiON, hiGhly cONNecTed TO

The creaTive ecONOmy.” gillian Moore | head of Contemporary Culture, Southbank Centre, london

and member of the Royal Conservatoire of Scotland International Advisory Committee


050


051

Our alumni are today’s musicians, directors, writers, composers, costume designers, set

designers, animators, educators, actors, performance makers, producers, technicians… and

more. Some are faces you will know, but many more make up the young talent chasing at their

heels. These are just a few who represent the microcosm of extraordinarily talented people

who pass through our doors.

June Binnie (2005) – Principal Timpani with Sinfonia Finlandia under Music Director Patrick Gallois. Sinfonia Finlandia Jyväskylä has recorded extensively and has released music for some of the largest classical music publishing companies, including Naxos.

Emun Elliott (2005) – Actor. Hailed by Screen International as ‘one to watch’, Emun plays Marillion in the HBO series Game of Thrones and has recently been filming the new Ridley Scott science fiction film prometheus due for release in 2012.

David fennessy (2000) – Composer. David’s works have been performed by the National Chamber Choir, the Castagneri and Zephyr Quartets, Synchronia and Concorde, among others. He has received many commissions, including those from RTÉ Lyric FM, Music Network and the Paragon Ensemble. In 2010, he was awarded a Paul Hamlyn Award for composers.

Amanda gaughan (2009) – Director/Producer. Following her work with playwright Douglas Maxwell while still a student, Amanda went on to become the Trainee Director at the Citizens Theatre, Glasgow. She is now working with National Theatre Scotland’s Associate Director, John Tiffany, in his new production of The missing by Andrew O’Hagan.

Becki gerrard (2010) – Performer. Becki’s first solo work lip service was nominated for a Total Theatre Award and the Arches Brick Award at the 2010 Edinburgh Fringe. She has developed and delivered touring schools workshops as an associate artist for Junction25 and Glas(s) Performance. Becki is currently involved in the development of sustainable Drama in HMP Perth.

Tunji kasim (2007) – Actor. Tunji kasim is currently appearing as a member of the Royal Shakespeare Company’s 2009-2011 Ensemble.

Nicola killean (2002) – Director and CEO Sistema Scotland.

Davur Juul Magnussen (2010) – Trombone. Davur successfully auditioned to play Principal Trombone for the Royal Scottish National Orchestra while still a student. He continues in that role today.

kate McDermott (2008) – Clarinet. Co-Principal Clarinet with the Gothenburg Opera.

Claire Mckenzie (2010) – Composer and Musical Director. Since graduating Clare works regularly for the Citizens Theatre, Glasgow and has composed scores for several productions. Her children’s music company ‘Little Larks’ which she set up in her third year, having won £1000 as part of the ‘Principal‘s Pit’ competition, continues to grow from strength to strength.

Johnny Mcknight (2002) – Actor, Director, Writer. Johnny’s directing credits include: smalltown , promises promises (Scotland, West End and Broadway runs), little johnny’s big Gay adventure (Random Accomplice). He has also worked as a performer and on educational projects with organisations including: National Theatre of Scotland, Scottish Opera, 7:84 Theatre Company, and Visible Fictions. His most recent project took place in Hong kong.

Ayden Millar (2010) – Scenic Artist. On graduation Ayden was employed as Assistant Scenic Artist at the Citizens Theatre in Glasgow before moving to the BBC where she became Art Director on the primetime quiz show, The Weakest link .

Siobhan Miller (2009) – Singer (Scottish Music, specialising in Scots song). Siobhan teaches workshops, has recorded two albums, and has performed at numerous festivals including Celtic Connections. She has recently returned from Broadway, New York, where she was resident singer in the Mabou Mines production of peter and Wendy , with music composed by Johnny Cunningham.

katie Shearer (2008) – Music teacher. Following her BEd degree, katie quickly rose to become Head of Music at Cayman Prep and High School in Grand Cayman, Cayman Islands.

Alexandra Silber (2005) – Actor, Musical theatre performer. Alexandra played Hodel in the West End production of fiddler on the roof to great critical acclaim. She went on to play Julie Jordan in carousel at the Savoy Theatre and was awarded the TMA Award for Best Performance in a Musical 2009. She made her Broadway debut in Terrence McNally’s master class in 2011.

genna Spinks (2005) – Double Bass, Liverpool Philharmonic Orchestra. Since joining the orchestra Genna has toured to Switzerland, Spain and China and worked with conductors such as Simon Rattle and with artists such as Paul McCartney, Hilary Hahn and Deep Purple.

Paul Wright (2006) – Film maker. Paul has been described as one of the most exciting film makers of his generation and was named as a ‘Star of Tomorrow’ by Screen International in 2007. His DFTV graduation film hikikomori won a BAFTA Scotland award and was nominated for a Uk BAFTA. He has since directed a number of award-winning short films including believe and until the river runs red , the latter winning the BAFTA for Best Short Film this year. He is now preparing his first feature film.

We are The NOW aNd The fuTure

David TennantActor

Lisa MilneSoprano

Bill PatersonActor

Alan CummingActor

James McAvoyActor

Shernaz Patel Film maker/Actor

Lorna McGheeFlautist

Robert CarlyleActor

Colin MorganActor

Richard MaddenActor

Ruby WaxComedienne

Hannah GordonActor

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excellence in the performing arts. A company limited

by guarantee reg no 4703 (Scotland) and a charity

registered in Scotland no SCO015855.

© RCS 2011. Images © RCS/kk Dundas

Our International fellows

Royal Conservatoire of Scotland

Patron, HRH The Prince Charles, Duke of Rothesay DAcad (RSAMD)

President, Sir Cameron Mackintosh DDra (RSAMD)

Chairman, Lord Vallance of Tummel

Principal, Professor John Wallace CBE

MA (Cantab) FRSAMD FRAM FRCM FRNCM Hon

DLitt (Strathclyde) Hon DMus (Aberdeen)

Vice Principal, Professor Maggie kinloch FHEA FRSA

Brodsky Quartet Chamber Music

Lorna McGheeFlute

Eric SammutMarimba

Jane Eaglen Vocal Performance

Thomas MartinDouble Bass

Pavel SteidlGuitar

Ian Bousfield,Principal Trombone,

Vienna Philharmonic.Trombone

Donald Runnicles,General Music Director,

Deutsche Oper Berlin and Chief Conductor,

BBC Scottish Symphony Orchestra.

Conducting

Christopher Lamb,Principal Percussionist, New York Philharmonic.Timpani and Percussion

Malcolm MartineauAccompaniment

Steven OsbornePiano

Ilya GringoltsViolin

Nadine GeorgeVoice

La Famille LecoqPhysical Theatre

Angela De CastroClowning

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www.rcs.ac.uk

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