2017-18 · 2019-03-28 · jonny mansfield, who also won the 2018 kenny wheeler jazz prize. alim...

ANNUALREPORT2017-18

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ANNUALREPORT2017-18

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LOOKING BACK .....................................................................................................5

NEW SPACES ........................................................................................................21

PHILANTHROPY ................................................................................................. 25

BENEFICIARIES ................................................................................................... 29

OUR YEAR IN NUMBERS ................................................................................... 35

FINANCIAL OVERVIEW ...................................................................................... 39

WITH THANKS ..................................................................................................... 42

2017-18 will be remembered above all for the opening of the much-anticipated new Susie Sainsbury Theatre and Angela Burgess Recital Hall, the refurbished basement studios and the new access-friendly frontage of the main building. We now have world-class, award-winning spaces in which we have already experienced memorable performances in every sphere of departmental life, including opera, jazz, musical theatre and all kinds of contemporary practice. The theatre and recital hall are equipped with state-of-the-art technology, which informs all our teaching, artistic practice and professional development. Students, staff and audiences alike are reaping the benefits of this transformational project, as will those who follow in their footsteps.

As well as seeing the redevelopment through to completion this year, we have remained fully focused on our core business: identifying talented young artists, offering them the best possible teachers and performance opportunities and giving them the tools to lead creative, varied and fulfilling musical lives. From Chance to Play and First Strings through Junior Academy to undergraduate and postgraduate studies, we train over 1,250 students aged between six and 26. In the Looking Back section of this report you will read about some of the illustrious visitors who have worked with us this year, the exciting events we have held, the success of our students and the global influence of our alumni.

The Academy is more committed than ever to widening participation and we continue to work hard to make music more accessible, through our recruitment at all levels and the wide-ranging activities of our students, both in the UK and internationally. We have again delivered more than 500 performances this year, the

majority of which were free of charge. By taking music out into the community, Open Academy reaches ever further, raising aspirations, making connections and challenging preconceptions via a range of projects delivered with partner schools and organisations.

There can be no doubt that music is one of the most extraordinary forces for good in the world, transcending boundaries and bringing people together. In these uncertain times, it is worth acknowledging that the Academy owes its existence to European culture – our pioneering professors were almost all from the great European nations. Today, around half of our students come from the UK, a quarter from the European Union and a quarter from other countries. This vibrant international mix is fundamental to our identity and how we approach the boundary-blind art of music. We remain deeply committed to this ideal.

As we approach our Bicentenary in 2022, we will be doing more than ever to ensure that every young musician with the right ability is given the opportunity to study here, no matter where they are from. You will hear more about these exciting initiatives over the coming year – we much look forward to sharing our plans with you. In the meantime, we offer our thanks to all our staff, students, supporters, audience members, visitors – indeed, anyone who contributes to the purpose, mission and wellbeing of the Academy.

Professor Jonathan Freeman-Attwood CBE Principal of the Royal Academy of Music

Dame Jenny Abramsky DBE Chair of the Governing Body

‘There can be no doubt that

music is one of the most

extraordinary forces for good

in the world, transcending

boundaries and bringing

people together’

CONTENTS

LOOKING BACK

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LOOKING BACKNEW SPACESPHILANTHROPYBENEFICIARIESOUR YEAR IN NUMBERSFINANCIAL OVERVIEWWITH THANKS

ANNUALREPORT2017-18

LOOKING BACKAPPOINTMENTS

The Academy’s status as one of the world’s leading conservatoires stems from our unswerving focus on musical excellence. Our outstanding teaching staff and close-knit group of visiting professors are central to that success. Among the distinguished names added to the roster during the 2017-18 academic year were:

• Thomas Blunt Junior Academy Symphony Orchestra Conductor

• Denis Bouriakov Visiting Professor of Flute• Bine Bryndorf Professor of Organ• Franz Danksagmüller Visiting Professor of Organ• Helen Grime Professor of Composition• Susan Landale E Power Biggs Professor Emerita• Andrew Norman Visiting Professor of Composition• Kate Paterson Head of Vocal Studies • Mario Stefano Pietrodarchi Visiting Professor

of Accordion • Nikolaj Znaider Viotti Visiting Professor of Music

CALENDAR

Performing is the lifeblood of the Academy. Our 2017-18 diary of events covered a multitude of genres and styles, bringing students together with some of the most established names in the profession.

In the autumn term, Semyon Bychkov continued his Mahler series with Symphony No 9, and Visiting Professor of Composition James Newton Howard conducted the Academy Symphony Orchestra at the Royal Albert Hall in a retrospective of his blockbuster film scores. Edward Gardner conducted a programme of Tippett, Gershwin and Rachmaninov, and the Sainsbury Royal Academy Soloists performed with Clio Gould. In the last of their performances ‘on the road’, Royal Academy Opera (RAO) performed Mozart’s Don Giovanni in Hackney’s Round Chapel, directed by Christopher Cowell, and the Musical Theatre Company presented Letters Home at the Shaw Theatre. Masterclasses were held by Colin Carr, Catrin Finch, Philippe Herreweghe, Angelika Kirchschlager, Garth Knox and Steven Osborne, among others.

In the spring term, conducting guests included Sir Mark Elder, Oliver Knussen and Jac van Steen. Pierre-Laurent Aimard was director and soloist with the Sainsbury Royal Academy Soloists in a programme of Mozart piano concertos, and the Academy Song Circle made its annual appearance at Wigmore Hall. The Academy Big Band performed with Dave Douglas and Evan Parker. Visiting artists who held masterclasses included Jeroen Berwaerts, Susan Bullock, Steven Isserlis, Mischa Maisky, Rachel Podger, Claude-Michel Schönberg and Fabio Zanon. The highlight of the

term was the opening of our new spaces – the Angela Burgess Recital Hall in February and the Susie Sainsbury Theatre in March. The theatre’s inaugural opera production, Jonathan Dove’s Flight directed by Martin Duncan, was a huge success and received excellent reviews. For more about our new spaces, see page 21.

At the start of the summer term, the Musical Theatre Company performed This is the Hour, comprising hits from Visiting Professor Claude-Michel Schönberg‘s musicals including Les Misérables, Miss Saigon and Martin Guerre. Brass and jazz students raised the roof of the Duke’s Hall with Billy May’s Really Big Fat Brass, led by Derek Watkins Chair of Trumpet Mike Lovatt. RAO performed a double bill of Bizet’s Le docteur Miracle and Constant’s La tragédie de Carmen, and the Musical Theatre Company presented two productions, Working and The Sweet Smell of Success, both of which received excellent reviews. The annual Piano Festival, curated by Head of Piano Professor Joanna MacGregor, celebrated the diverse repertoire and creative collaborations of the Piano Department. Eric Aubier, Denis Bouriakov, Lucy Crowe, Richard Goode, Daniel Hope, Tasmin Little, Isabelle Moretti, Pascal Rogé and Pinchas Zukerman were among the visiting artists who held masterclasses.

Collaborations with institutions and artists that share our values of artistic excellence have always played a critical part in Academy life. In addition to the wonderful creative opportunities already outlined, successful partnerships this year have included:

• Brass students performing side by side with the Academy’s Ensemble in Residence, Septura.

• The Academy Manson Ensemble working side by side with the London Sinfonietta in a performance of Stockhausen’s Trans at Royal Festival Hall under Pascal Rophé.

• An exciting project with Britten Sinfonia on a new children’s opera, A King’s Ransom.

• Students playing alongside members of the Nash Ensemble at Wigmore Hall.

• A chamber orchestra of musicians from both the Academy and Tokyo University of the Arts (Geidai) giving concerts in Oxford, London and Tokyo under the baton of Trevor Pinnock.

‘Jonathan Dove’s well-travelled

airport comedy receives a

fizzing, funny staging with

passages of perfectly

choreographed farce’

The Times Helen Grime Students from the Academy and Tokyo Geidai rehearse

RAO’s production of Flight

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ANNUALREPORT2017-18

LOOKING BACKSTUDENT ACHIEVEMENTS

It is a privilege to see our talented young musicians grow as artists during their time at the Academy. We’ve picked out just a few of this year’s standout successes.

This year’s winners of the Academy’s Patrons’ Award were Anna Geniushene (piano), and Hiroshi Amako (tenor) with Yi-Shing Cheng (piano). The Richard Lewis/Jean Shanks Award was won by Paul Grant, and mezzo-soprano Frances Gregory was the winner of the RAM Club Prize. This year’s recipient of the Richard Turner Jazz Fund was vibraphonist and composer Jonny Mansfield, who also won the 2018 Kenny Wheeler Jazz Prize.

Alim Beisembayev won the Jacques Samuel Pianos Intercollegiate Competition at Wigmore Hall and Ariel Lanyi won the Dudley International Piano Competition. Jâms Coleman won the Accompanists Prize in the Royal Over-Seas League Competition. Rory Ingham was awarded Rising Star in the 2017 British Jazz Awards, with Alexandra Ridout as runner-up. Matilda Lloyd won the inaugural Eric Aubier International Trumpet Competition in Rouen.

Roy Watkins won the Worshipful Company of Musicians’ Priaulx Rainier Prize for composition, and Joseph Howard accepted the new Composer in Residence post at Rambert. Joseph and fellow composer Alex Woolf were awarded Arts Society commissions, and Freya Waley-Cohen and Austin Leung were awarded places in the Philharmonia Composers’ Academy. Freya was also commissioned to write a new piece for the LA Philharmonic’s centennial season.

Third-year undergraduate organist James Orford was appointed William and Irene Miller Organ Scholar at St Paul’s Cathedral.

Three Academy undergraduates made the category finals of BBC Young Musician: Adam Heron (piano), Michaias Berlouis (bass trombone) and Robert Burton (saxophone), who won the Woodwind Category Final.

Royal Academy Opera students Michael Mofidian and Patrick Terry were selected to join the prestigious Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden; Michael also won the Royal Over-Seas League voice final. Freddie De Tommaso won three prizes at the 55th Tenor Viñas Contest and, after five years at the Academy, accepted a place with Bayerische Staatsoper in Munich.

The Musical Theatre Department enjoyed unprecedented success, with a third of the 2017-18 class having accepted roles in first-rate productions by the end of the summer. Among them were Stephenson Ardern-Sodje and Samuel Oladeinde, who joined the cast of Hamilton; Grace Farrell and Andrew York, who were cast in the West End production of Les Misérables, with Keoni Blockx, Nick Carter, Ruby Lyon and Janne Snellen joining the UK tour and Paige Smallwood being cast as Éponine in the US tour; and Philipp Nowicki, who was cast in Ghost the Musical in Germany. Musical Direction and Coaching student Leo Munby joined the Company orchestra on keys.

Not only was first-year undergraduate cellist Sheku Kanneh-Mason‘s performance at the wedding of the Duke and Duchess of Sussex at Windsor Castle in May watched by millions of people around the world, but he also became this year’s best-selling British debut artist across all genres, reaching No 18 in the Top 20 Official UK Albums Chart and entering the classical chart at number 1 with his album Inspiration. In addition, he won two Classic BRIT Awards.

‘How recklessly, hedonistically

opposed to the ethos of capitalism it

is to host free concerts nearly every weekday

lunchtime. Singers, pianists,

string quartets and assorted other artists

take to the stage to share their musical gifts’

Time OutThe Musical Theatre Company’s production of The Sweet Smell of Success

Freddie De Tommaso Sheku Kanneh-Mason

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ANNUALREPORT2017-18

LOOKING BACKALUMNI ACHIEVEMENTS

Academy alumni make artistic waves throughout the profession, all over the world. Appointments made during the course of the year include:

• Tom Blomfield Principal Oboe of the Philharmonia Orchestra

• Nathaniel Anderson-Frank Leader of the BBC Concert Orchestra

• Katherine Baker Principal Flute at the Royal Opera House

• Alexandra Jakeman Principal Flute in the BBC Philharmonic

• Amos Miller Head of Brass at the Royal Birmingham Conservatoire

• Peter Holder Sub-Organist of Westminster Abbey• Bramwell Tovey Principal Conductor of the

BBC Concert Orchestra• Valentina Peleggi ENO’s Mackerras Conducting

Fellow for the 2018-19 and 2019-20 seasons• Tansy Castledine first-ever female director of

music at Peterborough Cathedral• Tanya Bannister President of Concert Artists Guild

in the USA• Kevin Price Head of Music Performance at the

Royal Welsh College of Music & Drama There was success for Academy alumni at the 15th British Composer Awards. Robin Haigh won the award for Small Chamber composition; Philip Venables won the award for Stage Works with his chamber opera, 4.48 Psychosis; and Deborah Pritchard won the award for Solo or Duo with her work Inside Colour for solo violin.

LUCY CROWE‘My 2017-18 season has been full of exciting opportunities, with opera roles including Gilda in Rigoletto at the Royal Opera House and my role debut as the Countess in The Marriage of Figaro at English National Opera. Other engagements have included Vixen in concert performances of The Cunning Little Vixen with the Berliner

Philharmoniker under Sir Simon Rattle, Peri in Schumann’s oratorio Das Paradies und die Peri under Gustavo Dudamel with the Los Angeles Philharmonic, and Mozart’s Mass in C minor at the Berliner Philharmonie under Daniel Harding.’

ASHLEY HENRY ’Since August 2017, I have signed a recording contract with Sony Music UK and performed at concerts and festivals across the UK, Europe and the USA as a bandleader. In January 2018 I released my debut EP, Easter, as well as recording my debut album, which will be released in

September 2019. I have toured and recorded with some highly respected names in jazz and pop, including Makaya McCraven, Theo Croker, Keyon Harrold and Christine and the Queens. It has inspired me to keep doing what I’m doing – I’m looking forward to seeing what next year brings!’

Gwenllian Llŷr (harp) and Lotte Betts-Dean (mezzo-soprano) were awarded City Music Foundation Fellowships, Tabea Debus (recorder) was announced as a YCAT artist and Misha Mullov-Abbado (jazz bass) was selected as Radio 3 New Generation Artist. Maria Włoszczowska won first prize in the Violin/Baroque Violin category of the Leipzig International Bach Competition and Michael Pandya won the Accompanist’s Prize at the Kathleen Ferrier Awards. All the nominations in the Singer shortlist of the RPS Music Awards – David Butt Philip, Brindley Sherratt and the eventual winner Allan Clayton – were Academy alumni. Glyndebourne’s production of Brett Dean’s Hamlet, in which Allan played the title role, won World Premiere of the Year at the International Opera Awards. Sir Simon Rattle won the Concert Series and Festivals category alongside the London Symphony Orchestra for its ‘This is Rattle’ series.

Edward Gardner made his New York Philharmonic debut in April as guest conductor. Jonathon Heyward was the recipient of the Dudamel Conducting Fellowship with the Los Angeles Philharmonic Orchestra.

Musical Theatre alumna SuRie (Susanna Cork) represented the UK in the final of the Eurovision Song Contest in May, and Fra Fee won Best Supporting Actor in a Play at the WhatsOnStage Awards.

Karl Jenkins released Symphonic Adiemus, the first album of his new multi-album deal with Decca Records. Jazz graduate Kit Downes released an album with ECM.

Three alumni were recognised in the 2018 New Year Honours list. Andrew Parmley, Principal of the Harrodian

School in Barnes and former Lord Mayor of London, was awarded a knighthood; violinist Anthony Marwood, who studied at Junior Academy, was appointed an MBE; and Colin Moore received a British Empire Medal.

The 2018 BBC Proms season was announced, with around 30 Academy alumni in the line-up, including singers Allan Clayton, Iestyn Davies, David Shipley, Christina Gansch, Brindley Sherratt and Mary Bevan; pianists Benjamin Grosvenor and Freddy Kempf; guitarist Miloš Karadaglić; and oboist Nicholas Daniel. Academy conductors also featured prominently, including Robert Ames, Ilan Volkov, Richard Farnes, Edward Gardner, Ludovic Morlot and Sir Simon Rattle.

At the Academy’s graduation ceremonies in July, Stephen Ashfield, Stephen Goss, Sholto Kynoch, Sophie Langdon, Jack Liebeck, Professor Linda Merrick and Hilary Summers became Fellows of the Academy.

‘The attachment to this noble

institution is somehow permanent.

Even when I’m not here,

I’m thinking of this place’

Semyon BychkovAllan Clayton

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ANNUALREPORT2017-18

LOOKING BACKACADEMY STAFF AND ASSOCIATES

Visiting Professor of Composition Bent Sørensen won the prestigious Grawemeyer Award for Music Composition for his 2015 piece L’isola della città, a triple concerto for violin, cello and piano.

Visiting Professor of Composition Oliver Knussen was shortlisted for the Chamber-Scale Composition category of the Royal Philharmonic Society (RPS) Music Awards for his work O Hototogisu! – fragment of a Japonisme and was conferred an Honorary Doctorate of the University of London at the Academy graduation ceremony in July. Sadly, just a few days later Olly died.

Head of Composition Philip Cashian, Head of Piano Accompaniment Michael Dussek, Head of Historical Performance Margaret Faultless and Head of Organ David Titterington were made Professors of the University of London. David was also awarded an Honorary Doctor of Arts by the University of Bolton. Principal Operatic Coach Ingrid Surgenor received the degree of Doctor of Letters from the University of Ulster.

Principal of the Academy Jonathan Freeman-Attwood was awarded a CBE in the 2018 New Year Honours, in recognition of his service to music.

Conductors announced for this year’s BBC Proms season included Sir Mark Elder (Barbirolli Chair of Conducting), Andrew Manze (Fellow), Semyon Bychkov (Klemperer Chair of Conducting), Jane Glover (Emeritus Professor of Music) and Sian Edwards (Head of Conducting). The season’s programme included the world premiere of Honorary Research Fellow Tansy Davies’s 9/11-inspired ‘What Did We See?’, the orchestral suite from her acclaimed opera Between Worlds.

Manfred Eicher, founder of ECM Records, was made an Honorary Fellow of the Royal Academy of Music at a special event in February. In April Claude-Michel Schönberg was welcomed as an Honorary Member of the Royal Academy of Music, and at this year’s graduation in July, Hugh Laurie and Imelda Staunton were awarded the same honour.

RECORDINGS

The Manson Ensemble’s CD of Stravinsky’s The Soldier’s Tale, conducted by Oliver Knussen, was included in The Sunday Times’s ‘100 Best Records of the Year’ and was given a five-star review by BBC Music Magazine and four stars by The Arts Desk, which described it as ‘an agile and brightly coloured reading, full of rhythmic zest and light, clean accents’.

The Academy’s most recent collaboration with The Juilliard School, Gabrieli for Brass: Venetian Extravaganza, conducted by Reinhold Friedrich, was released on the Linn Records label in March. It was reviewed on BBC Radio 3’s Record Review, with Andrew McGregor describing it as ‘a richly rewarding blend of ancient and modern […] deeply satisfying’.

‘The playing is wonderfully

musical and impressive, with

impeccable intonation and

phrasing, and a wonderful depth

of tone, while the fleet-of-

lip trumpeters impress with

their valved virtuosity’

Early Music Review

on Gabrieli for Brass CDOliver Knussen receiving his Honorary Doctorate in July

Claude-Michel Schönberg

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ANNUALREPORT2017-18

LOOKING BACK

‘My first year at Junior

Academy has been brilliant.

I’ve met lots of like-minded

people and I can’t wait for

each Saturday to arrive. Musically

I’ve really progressed – it’s just a great place

to be and is the highlight of

my week’

Junior Academy student

JUNIOR ACADEMY

Junior Academy (JA) provides an opportunity for young musicians from all backgrounds to be challenged and inspired through their music making. We are grateful for the continuing support of the Wolfson Foundation, Leverhulme Trust, Sir Elton John Trust and a number of individual benefactors.

Among the musicians who visited this year were oboist Jonathan Kelly and pianist Steven Osborne. Ten JA students took part in a side-by-side concert with Sounds Baroque and Julian Perkins as part of the annual Handel Birthday Concert organised by the charity Coram.

In April, over 100 primary school students ‘took over’ the Academy for an outreach event organised with London Music Masters – the largest we’ve ever hosted at the Academy. Staff and students led a number of creative workshops, culminating in a concert in the Duke’s Hall.

Students Elodie Chousmer-Howelles (violin), Jeneba Kanneh-Mason (piano) and Alex Pullen (percussion) made the category finals of BBC Young Musician.

Fifty-six chamber ensembles performed at our Summer Chamber Music Festival. Six went on to compete in the Dame Ruth Railton Chamber Music Prize, with the Segal Quartet winning first prize.

The JA Symphony Orchestra performed Prokofiev and Shostakovich at its summer concert, conducted by Jonathan Bloxham. Composers worked with Helen Grime for this year’s Gareth Walters Composition Prize, which was won by Toby Anderson for his piece Kitsune.

OPEN ACADEMY

Open Academy works in partnership with specialist organisations to bring creative workshops into schools, hospitals, centres for the homeless, care homes and day centres. This participatory work – which, in 2017-18, reached nearly 5,700 people – would not have been possible without the generous support of our donors.

The 44 projects that took place this year included:

• Academy alumnus James Moriarty working with young people at Marylebone School and Regent High School to compose and perform pieces in response to scenes from the film Fantastic Beasts and Where to Find Them.

• A partnership with CW+, the arts programme at Chelsea and Westminster Hospital. This involved

our students working alongside one of the resident artists, Andrew Hall, making music with older people receiving care in hospital.

• Open Academy Fellows working with Jessie Maryon Davies and opera director Hazel Gould to devise and develop a performance for primary school children, in partnership with Spitalfields Music.

• A new relationship with St Ann’s School, a special school in Ealing for students aged 11 to 19 with complex learning difficulties. Led by artist and composer Gawain Hewitt, Academy and St Ann’s students improvised pieces together.

• The continuation of the ‘Music for the Moment’ concert series, which welcomes people living with dementia, and our work with City Lit’s Percussion Orchestra, a music project for adults with learning disabilities.

Junior Academy student Each year, primary school children in Camden compose their own works for an ensemble of Academy students

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ANNUALREPORT2017-18

LOOKING BACKEQUALITY, DIVERSITY AND ACCESSIBILITY

The Academy promotes an inclusive learning and working environment in which all students, staff and visitors are welcomed, with individual needs recognised and supported.

This year, the Equality and Diversity Committee was replaced by the Widening Participation Committee, to reflect the way in which its remit has broadened to include a range of topics relating to widening participation at the Academy.

New branding and a thorough review of all digital and printed content resulted in clear, easy-to-access information about the Academy’s work, impact and student offering. An annual report was produced for the first time, outlining our impact during the year ended 31 July 2017. We started the procurement process for a new website with a more user-friendly, accessible design.

Disney Theatrical Productions funded four scholarships for students from black, Asian and minority ethnic backgrounds to join the Musical Theatre Programme. These scholarships were established to help address the under-representation of BAME talent in musical theatre and encourage greater diversity in the industry; we hope to continue the scheme into the future.

At the end of May we announced the launch of the Sorrell Women Conductors Programme, supported by The JMCMRJ Sorrell Foundation in memory of Mr Jack Sorrell. It is the first programme of its kind at any UK conservatoire and is aimed at women who are thinking

of applying for a Master’s in Orchestral Conducting in the UK or abroad. Taking place in the 2018-19 academic year, it comprises an intensive weekend of workshops and mentoring, after which up to six participants are invited back for three further weekends.

‘I’m acutely aware that conducting remains a male-dominated profession,’ says Sian Edwards, Head of Conducting at the Academy. ‘This bespoke programme aims to provide aspiring women conductors with an opportunity to develop their talent on equal terms with men. With our global standing, the Academy can give a powerful example of how to address one of the greatest examples of gender inequality in music at a crucially formative time.’

Work on the Academy entrance, including ramped access to the foyer, was completed in November, on time and within budget. This has been critical to the success of major redevelopments inside the building, notably the new theatre and recital hall (see page 21). Thanks to Donald Insall Architects and Stone Edge Conservation, all five performance venues and the museum now have fully accessible and step-free access for the first time since the Academy moved to its Marylebone Road site over 100 years ago.

MUSEUM

‘The Spencer Collection: A Musical Banquet’, which opened in January 2017, ran until the end of March 2018. It celebrated Robert Spencer’s important part in the early music revival and the wonderful collection of artefacts held by the Academy.

The space was then used for a six-week installation by the Composition Department before the museum launched its new temporary exhibition on 29 June. ‘Hitting the Right Note: Amazing Women of the Academy’, which runs until April 2019, pays tribute to some of the extraordinary Academy women who have blazed a trail in the world of music.

New acquisitions in the museum collection included:

• A specially commissioned bronze portrait bust of Gerald Finzi, donated by the Finzi Trust.

• A pencil portrait of Harold Craxton by Sir Peter Scott.• Six letters written by Sir Henry J Wood.• Three portraits by Edmond Kapp of Sir Henry Wood,

Sir Thomas Beecham and Sir Adrian Boult.

Among the loans received for the ‘Hitting the Right Note’ exhibition were a music map by American composer Augusta Read Thomas, music visualisations by synaesthetic composer Deborah Pritchard, Dame Evelyn Glennie’s first snare drum and a conductor’s baton from Odaline de la Martinez. Items of art relating to Academy women were also brought out of storage, including a portrait of oboist Maude Melliar, who played at the opening of the new building in 1912. We now also have an archive of recorded interviews with eminent alumnae.Bust of Gerald Finzi

Re-landscaped entrance

‘In an institution such as the

Royal Academy of Music, with

such a rich and fascinating

history, it is only right that there

should be a bespoke, onsite

museum. This is an engaging space that not

only illuminates the past, but

also inspires for the future’

Dr Deborah Pritchard, alumna

and composer

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ANNUALREPORT2017-18

LOOKING BACKLEAGUE TABLE RECOGNITION

It is always heartening to receive recognition for our achievements in the areas that motivate us the most – encouraging progressive ways of thinking about music and performance, supporting our teachers and, most importantly, making sure that our students can build fulfilling careers when they leave. League tables are one of the ways we can measure our success; they can also help us to identify areas for further improvement.

We are proud once again to have received a Gold rating in the Teaching Excellence Framework (TEF), the government assessment of the quality of teaching in the higher education sector. The award is now valid for up to three years. The report stated that Academy students achieve ‘consistently outstanding outcomes’ and ‘exceptionally high rates of progression to employment and highly skilled employment or further study’ that are above the benchmark rate. The Academy was found to provide ‘an exceptional range of enrichment activities and external collaborative projects that enhance educational and professional development’. It also praised the Academy’s ‘outstanding facilities’ and ‘very high rates of retention and progression’.

The Destinations of Leavers from Higher Education (DLHE) survey showed that 97.6% of the Academy undergraduates surveyed went on to further study or work within six months of graduating at the end of the 2016-17 academic year.

Reflecting this strong record of graduate employment and further study, the Academy also achieved the top score (94%) for graduate prospects in both the Subject

league table (Music) and the Arts, Drama and Music league table of the Complete University Guide for 2019.

After two consecutive years of achieving the highest score of all UK conservatoires in overall student satisfaction in the National Student Survey (NSS), the Academy’s 2018 results were disappointing, with an overall score significantly lower than that of 2017. The survey is based on feedback from final-year students on a number of aspects of their learning experience.

Surveys and league tables use measurements and methodologies that are not always able to accommodate the highly specialist nature of the Academy and, because we are a small institution, it only takes a small number of negative responses to affect our figures. The NSS scores for the last three years have been based on an average return of 6.7% of the student population. Nonetheless, we always strive for the highest possible rates of student satisfaction and are reviewing our offering and processes in light of the results.

One change already being implemented is the addition of a ‘Resilience’ strand to all undergraduate and taught postgraduate programmes (from September 2018); this focuses on health and wellbeing issues, with the aim of encouraging our students to lead healthy, balanced lifestyles, and gives them information about reliable, expert sources of help.

Sir Harrison Birtwistle with student Joseph Havlat

NEW SPACES

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ANNUALREPORT2017-18

NEW SPACESANNUALREPORT2017-18

In the spring term we finally reached a huge milestone, following one of the most ambitious building and renovation projects in the history of the Academy – we held our first performances in the brand-new, state-of-the-art Susie Sainsbury Theatre and Angela Burgess Recital Hall.

These world-class spaces, designed by architect Ian Ritchie, reflect the educational and artistic ambitions of the Academy and further strengthen our reputation as one of the world’s finest conservatoires. They will inspire students for generations to come, giving them the best possible start to their professional lives. And they would not have been built without the remarkable generosity of our donors, who provided the vast majority of the necessary funds.

The new Recital Hall was opened by our President, HRH The Duchess of Gloucester, in February. The official opening of the theatre, to which we were delighted to welcome HRH The Princess Royal, The Duchess of Gloucester and other close friends and donors, took place in March. The royal party entered to the world premiere of Sonance for a New Space by the Academy’s Visiting Professor of Composition, Harrison Birtwistle, after which Royal Academy Opera put on an outstanding performance of Jonathan Dove’s Flight.

Press night resulted in a clutch of excellent reviews that referenced both the fabulous production and the beautiful new space. Michael White in Classical Music magazine said: ‘The small but brilliant student show that opened the new theatre at the Royal Academy of Music came like a beacon on a dark night. It’s a beautifully appointed theatre, just the right size for still-growing voices. And the voices, orchestra, design and total package were a joy.’ The Observer’s Stephen Pritchard described the theatre as ‘gorgeous, enfolding an audience of 300 in a warm, cherrywood-lined, semicircular embrace, with excellent sightlines and up-to-the-minute technical facilities backstage’. Richard Morrison in The Times found it ‘superbly rebuilt and enlarged…, not unlike Glyndebourne inside and blessed with excellent acoustics’. Flight was, he said, ‘an ebullient way to inaugurate a fine new venue’.

The theatre and recital hall have been awarded RIBA’s London Building of the Year, a RIBA National Award and the RICS Tourism and Leisure Award. It is gratifying to see the hard work and dedication of so many receiving industry recognition.

‘A major refurbishment

at the Royal Academy of

Music has just been

completed and a new theatre

is the splendid centrepiece. A

much-upgraded remodelling, the

Susie Sainsbury Theatre opened

this week with Jonathan Dove’s

Flight, an opera appropriately

bubbling with good spirits’

Financial Times

PHILANTHROPY

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ANNUALREPORT2017-18

PHILANTHROPYFor nearly 200 years, the Academy has looked to its generous community of donors to provide the foundation for music and music education. From prizes and scholarships to capital projects, philanthropic gifts provide an extraordinary student experience and the world-class performances expected of a top conservatoire.

This year was no exception. We would like to take this opportunity to thank the 920 donors, including 503 first-time donors, who chose to support the Academy philanthropically this year. Their gifts and pledges totalled £15,232,097 – a record for the Academy – and supported projects ranging from financial awards for students to capital projects and initiatives such as the Virtual Conservatoire. The impact these donors have had – and will have – on the life of the Academy is extraordinary, and we offer our warmest thanks for their generosity.

More than half of this total came from gifts to capital projects, particularly the Susie Sainsbury Theatre and Angela Burgess Recital Hall, which opened in the spring term. The 120 supporters who made gifts towards the theatre and recital hall have our most profound gratitude. Our very special thanks go to Lady Sainsbury of Turville CBE for her exceptional support and leadership, and to John Burgess, who named the recital hall after his mother, Angela Burgess.

Nearly one-third of the total, £4,988,035, supported needs- and merit-based financial awards for more than 500 students, including the new Bicentenary Scholars programme. As the cost of living and fees rise, even the best young musicians consider finances

when deciding where to study. These gifts help take money out of the equation, ensuring that ability and ambition alone determine who comes to the Academy. You will find the profiles of just a few of the young musicians who benefited from these gifts from page 29.

Of particular note is the £2,409,684 received from legacy donors – those who include a gift to the Academy in their wills. These gifts are especially important to us as they help the Academy plan for the future while ensuring that the donors’ love for music lives on after they are gone. To thank these donors, and those who have pledged a legacy in the future, we launched the Hilda Bor Circle at the end of this academic year and look forward to seeing it grow.

Philanthropic gifts are at the heart of all the Academy has achieved this year. On behalf of grateful students and staff, whose horizons have been broadened and goals have been achieved because of this support, thank you.

Kirsty MacDonald Deputy Principal (Advancement)

‘I moved from New York to London to study at the Academy on a Disney Theatrical Productions Scholarship, and it changed my life – I would do it all again in a heartbeat. I felt supported and motivated from the very start, and I made so many wonderful friends. I’ll be forever grateful for the opportunities I’ve been given’

Paige Smallwood, Musical Theatre

‘Studying at such a high level at one of the world’s leading conservatoires would have been only a dream had it not been for the generosity of Academy donors. I’m so grateful that donors believe financial difficulty should never be an obstacle for a musician who shows potential. Thank you so much’

Ossian Huskinson, Vocal Studies

GIFT ALLOCATION

CONTRIBUTORS

Capital Projects £8,243,561

Areas of greatest need/new initiatives £1,083,649

Endowment £916,852

Awards £4,988,035

Alumni donors288

Other individual donors571

Trusts and foundations49

Corporations12

TOTAL920

BENEFICIARIES

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ANNUALREPORT2017-18

BENEFICIARIES

For 200 years, students have been at the heart of what we do. Each year, more than 800 young musicians come to the Academy to study, learn, explore and discover their own creative potential – and find in themselves that special strength and determination that marks the very best.

In the next few pages you will meet a few of the students who studied with us in the 2017-18 academic year – some as undergraduates and others as postgraduates. While their journeys are different, together they represent the qualities of our most remarkable students – resilience, passion and a profound love for their art.

Several of these young people benefit from scholarships, bursaries or prizes supported by philanthropic gifts. We are especially grateful to the generous donors who make these possible.

Hugh MillingtonUndergraduate, classical guitarRecipient of the Timothy Gilson Guitar Prize

Since I started at the Academy I have enjoyed countless collaborations with other musicians across all departments, giving me the chance to work with and learn from many of my fellow students.

One of the aspects of the Academy that I have most benefited from is the Academic Studies Department, which offers an incredibly large range of electives to choose from in the third and fourth years of the course. These have led to some incredible opportunities, including this year, when I performed with one of my academic teachers as part of a lecture-recital in Israel. It is also from these electives that I have discovered my enthusiasm for research, and with the help and advice of Academy staff I am currently applying to pursue a Master’s research degree – something I never expected to do when I started at the Academy.

I’ve developed significantly as both a musician and a person during my studies here; I can’t imagine having such an amazing experience anywhere else.

Louisa StirlandUndergraduate, vocal studies (soprano)

I had always hoped to pursue music as a profession, but until I came to the Academy singing was a hobby for me. When I arrived here, I found it so inspiring to be surrounded by like-minded people who share my passion for music making, and I have thrown myself into Academy life. It can be difficult to maintain a healthy work-life balance, but I have learnt important principles of moderation and resilience that will continue to benefit me in my professional life.

The Academy has given me a grounding in a range of genres, including song, oratorio and opera. Song classes in English, French and German have helped me build practical skills that have brought me competition success, and I have performed in a number of Historical Performance projects, from chamber music concerts to roles in semi-staged Baroque operas. I also auditioned for the Josephine Baker Trust, through which I now have opportunities to perform professionally in concerts externally. Some of my most memorable highlights have been performing in a masterclass with Lucy Crowe in the new Susie Sainsbury Theatre, and in Academy Opera Scenes as Ilia in Idomeneo.

Milo HarperUndergraduate, harpRecipient of the D Day Fund Award

Studying at the Academy is rewarding in more ways than I could have imagined. I have met so many amazing musicians – students and teachers – who have inspired me to strive towards reaching my full potential, so I feel very lucky. I’ve had so many opportunities that I wouldn’t have had elsewhere. Playing in masterclasses and Academy Symphony Orchestra with soloists and conductors I‘ve admired for years has been invaluable and such a pleasure.

My course is certainly hard work, but by putting in the effort I have grown exponentially as a musician and have had so many gratifying experiences. The undergraduate programme is varied and there are lots of interesting avenues that can be explored, many of which I never would have thought to try.

I have gained more confidence and conviction in my playing and my technique has improved tremendously. Playing with other students in orchestra and chamber groups has been really enlightening and has greatly benefited my own playing and musical knowledge.

‘When I arrived here, I found it so inspiring to

be surrounded by like-minded

people who share my

passion for music making’

Louisa Stirland

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ANNUALREPORT2017-18

BENEFICIARIESSung Kyu ChoiPostgraduate, opera Charles Mackerras Opera Scholar

In 2017 I moved from my native Korea to London to study at the Academy. At first it was a bit of a culture shock, but the Academy really helped me to adapt. I was invited to English Language Welcome Week, during which we learnt all about life here – how to get the most out of our student experience, where to get advice, and other essentials that made the transition smoother.

The Royal Academy Opera Programme is both intensive and comprehensive, with classes on acting, movement and vocal production, and a significant performance every term, which is so helpful in preparing us for the professional world. Since coming here, my whole outlook on performance has changed; one of the most important things I have learnt is how to express myself on stage and connect with the audience. Everything I do – every movement and word – needs to impart the emotion of the music. It would have been very hard for me to study in London without my scholarship, so I am very grateful to my donors. My award has allowed me to focus on my craft rather than worrying about living costs.

Aliayta Foon-DancoesPostgraduate, violin Recipient of the Sir John Barbirolli Memorial Prize

I am originally from Vancouver, and before accepting a place at the Royal Academy of Music I studied and worked in Victoria, a small city even further to the west of Canada. Moving to London changed everything for me – suddenly, the musical ceiling that had been restricting me didn’t exist any more. The standard of the students and teaching and the range of opportunities made available to us are beyond what I could ever have anticipated.

Since beginning my studies here, the expectations I have of myself have radically changed. The environment at the Academy has fostered in me an insatiable desire to raise the bar. I’ve had musical experiences I never thought I would have – playing at the Wiener Musikverein with my string quartet, for example, and performing with the London Symphony Orchestra. Without the support and connections of the Academy, none of this would have been possible.

Most importantly, the Academy has taught me that I can dream bigger than I imagined, and that there doesn’t have to be a limit on what can be achieved.

Emily MitchellPostgraduate, trumpetUniversal Music UK Music Sound Foundation Scholar

My first contact with the Academy was at the age of 15 when I was accepted into Junior Academy. It completely changed my focus on music – it got me into a routine of dedicated daily practice and I saw rapid improvements. Saturday was the best day of my week, and I knew I wanted to continue my education at the Academy.

When I compare the person who first started at Junior Academy with the person I am today, I see how much I have grown. I’m much more confident and I know where I want to go in the future. After graduation I hope to build a portfolio career of orchestral work, chamber music and teaching.

I’m very grateful to have received a scholarship during my postgraduate studies. I come from a single-parent home where the only income has been my mother’s disability allowance, so my family isn’t able to provide financial help. As an undergraduate I worked six jobs to support myself, but since starting my postgraduate training my scholarship has made it possible for me to focus entirely on my real passion and develop my playing to be as good as it can be.

Stephenson Ardern-SodjePostgraduate, musical theatreMackintosh Foundation Scholar

I was lucky enough to be awarded a Mackintosh Foundation Scholarship, which enabled me to accept a place on the one-year Musical Theatre Programme. The course strikes a great balance between theoretical and practical learning – class sizes were small and tailored to our specific skill levels, so I felt constantly challenged. We had incredible lessons, masterclasses and audition prep sessions with professionals including Claude-Michel Schönberg, Pippa Ailion and Hadley Fraser. Sessions on how to approach agents, how and why to register with Spotlight and Equity, audition etiquette and many other aspects of an actor’s life were all really useful and helped me build a network of contacts.

Before coming to the Academy I’d had no formal musical theatre training – I was working in an office and had almost given up on my dream of a career in the creative arts. Fast-forward to June 2018 and I was making my West End debut as Alexander Hamilton in Hamilton, performing to a full house at the Victoria Palace Theatre. This wouldn’t have been possible without the training and support I received from my teachers and peers.

‘My scholarship has made it possible for me to focus

entirely on my real passion

and develop my playing to be as good as it

can be’

Emily Mitchell

OUR YEAR IN NUMBERS

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ANNUALREPORT2017-18

OUR YEAR IN NUMBERS

530performance

events

CONCERTS AND EVENTS AWARDS

STAFF STUDENTS MUSEUM

INVESTMENT AND RESEARCH OPEN ACADEMY

JUNIOR ACADEMY

2017-18 STUDENT INTAKE SOCIAL MEDIA

49,000people

68%free of charge

full-time equivalent

213 158teaching and teaching support

£3.9minvested in scholarships and

financial support for talented musicians

34 students received a Dip RAM (down from 52 in 2016-17)

Open Academy worked with a total of

5,872 participants in 44 projects

The academic year began with 221 students, a record-breaking number for the second year running

UK/EU undergraduates

100 171UK/EU postgraduates

international undergraduates

21international postgraduates

88

4,776

47,985 likes in August 2017

graduated with a first or upper second

BMus

90%graduated with

distinction or merit

MA/MMus

94%

8,200visitors

YouTube subscribers

+1,368

59,126likes in July 2018

9,214followers in July 2018

32,607followers in July 2018

bursaries offered48 35

Music and Dance Scheme Government-funded places

58public events

1,320people at

46guided tours

475people on

14Academy

Tots events

191people at

559students and adult learners

had guided visits

80research events

A total of 825 students from

countries54

FINANCIAL OVERVIEW

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ANNUALREPORT2017-18

FINANCIAL OVERVIEW

FINANCIAL PERFORMANCEThe Academy achieved a strong financial performance in 2017-18. This is testament to the careful stewardship of the Governing Body and Senior Management Team. Opportunities to maximise income from all quarters have been taken, and expenditure has been carefully controlled and directed to deliver our strategic objectives.

The disruption and one-off expenditure arising from the final development stages and commissioning of our outstanding new facilities were mitigated by the receipt of two significant legacies totalling £1.3m. Overall, the Academy made an operating surplus of £1.8m in 2017-18, which will be reinvested in teaching, the estate and our infrastructure.

INCOMEThe Academy’s total income (before donations) in 2017-18 – mainly from tuition fees, government funding and investment income – was £19.5m, up £1.5m from 2016-17. Tuition fee income increased by £0.8m as a result of the recruitment of an additional 35 students, and we received £0.7m of Catalyst grant funding for the Virtual Conservatoire project.

DONATIONS AND ENDOWMENTSWith work on the theatre redevelopment project drawing to a close, we continued to raise vital funds. Our alumni and friends contributed an enormously generous £7.8m towards the completion of this project in 2017-18.

Although the overall cost of educating a student at the Academy (up to £35,000 per year) is met in part by

our income streams, we rely on our extraordinary donor community to facilitate world-class tuition and provide bursaries and scholarships for students who might not otherwise be able to study here. We recognised £6.3m in revenue donations in 2017-18 – £2.7m higher than the previous year – and we are very grateful for the generous support of our donors.

EXPENDITUREThe largest tranche of our expenditure goes on teaching and educational support costs. Out of a total expenditure of £22.4m in 2017-18, £13m (58%) related to teaching, academic support and general education costs. This represents an additional £1.3m versus the previous year, and includes an increased investment of £0.6m of our own funds in bursaries, to ensure the best students are able to attend the Academy.

The other major cost area is the estate, which, in 2017-18, amounted to £4.6m (21% of total costs). This has risen by £0.4m year-on-year, reflecting a full year of higher rental costs following a rent review in 2016-17, and additional maintenance costs associated with returning the Academy to full operational strength after the reopening of the theatre. We have retained our investment in rented off-site practice space for students, which was originally secured to mitigate the effects of the disruption to practice areas caused by the theatre redevelopment.

Ongoing expenditure and project costs are monitored carefully to ensure that we achieve value for money. To make the most of our funds, improve our bargaining power and realise efficiencies we continue to use dedicated procurement support via a cost-sharing group.

INVESTMENTSThe Academy holds a substantial investment portfolio based on capital gifts donated or bequeathed over the years. The purpose of these gifts is mainly to provide scholarships, bursaries and prizes for students. Under the stewardship of the Academy’s Investment Sub-Committee and investment managers, the value of the portfolio grew by 5% (£2m) in the year, to £42.3m at July 2018. In August 2018 we switched our expendable endowment funds to be managed on a ‘total return’ basis, to increase the overall return on our assets to fund student awards.

CAPITAL PROJECTS The new Susie Sainsbury Theatre and Angela Burgess Recital Hall were opened in spring 2018, to great acclaim. This major project was particularly challenging, given our listed building status and the fact that the Academy continued to operate largely in situ as the work progressed. Costs have largely been met by donations. The new ramped access and associated re-landscaping were completed in the autumn of 2017.

Judith Barber Director of Finance

INCOME£33,872,000£22,375,000

EXPENDITURE

Teaching£8,359,000

General education

£3,461,000

Premises£4,581,000

Central admin

£3,300,000

Catering/ residences£874,000

Academic support £438,000

Other £474,000

Facilities£185,000

Other academic services£703,000

Tuition fees£10,458,000

Donations (theatre)

£7,806,000

Donations/ endowments£6,577,000 OFS and

funding council grants

£5,818,000

Catering/residences£705,000

Investment £1,436,000

Other £1,072,000

42 43


ANNUALREPORT2017-18

WITH THANKSDONORSMany of the achievements in these pages were possible only thanks to generous gifts from our donors. Those who gave £1,000 or more during this financial year (1 August 2017 to 31 July 2018) are listed here – we are deeply grateful to you all.

ORGANISATIONSAbercorn SchoolThe American Society for the Royal Academy of Music (ASRAM)Ambrose and Ann Appelbe TrustAssociated Board of the Royal Schools of Music (ABRSM)Avedis Zildjian CompanyNorman Ayrton Scholarship TrustBackstage TrustThe Lionel Bart FoundationThe Sir John Beckwith Charitable TrustBell MusicThe Ben Loyal TrustBolivia ClasicaThe John Brockway Huntington FoundationCalleva FoundationThe Carr-Gregory TrustCavatina Music TrustCHK Charities LimitedWinifred Christie TrustClemence Charitable TrustThe John S Cohen FoundationThe Cosman Keller Art and Music TrustThe D’Oyly Carte Charitable TrustThe Howard de Walden EstateAlex and William de Winton TrustDelius TrustDerwent London plcDisney Theatrical ProductionsThe Drapers’ Charitable Fund

The Ann Driver TrustThe Duet FoundationEnstar CapitalToni V Fell Musical Charitable TrustFernside TrustFidelio Charitable TrustGerald Finzi Charitable TrustFishmongers’ Company’s Charitable TrustThe Amaryllis Fleming FoundationFoyle FoundationCharlotte Fraser FoundationThe Albert and Eugenie Frost Music TrustFuture of Russia FoundationGarfield Weston FoundationGatsby Charitable FoundationGeoffrey Osborne LtdJ Paul Getty Jr General Charitable TrustThe Grand Duo Charitable Trust and Suzanne Skelton MasterclassGolden Charitable TrustThe Hargreaves and Ball TrustDerek Hill FoundationThe Charles Michael Holloway Charitable TrustThe Honourable Society of Knights of the Round TableIndependent OperaInternational Music and Art FoundationInternational Students HouseJohn Lewis PartnershipJohn Lyon’s CharityKhodorkovsky Foundation

Kohn FoundationKirby Laing FoundationLeverhulme TrustThe Richard Lewis/Jean Shanks TrustThe Lynn FoundationThe Sir Jack Lyons Charitable TrustThe Helen Rachael Mackaness Charitable TrustThe Mackintosh FoundationThe Matthiesen FoundationThe McLaren TrustMargaret & Richard Merrell FoundationThe Mills Williams FoundationGM Morrison Charitable TrustClarence Myerscough TrustOrbis Pictus TrustOrgelbau Kuhn AGPF Charitable TrustThe Stanley Picker TrustSantander UKThe Seary Charitable TrustSkyrme Hart Charitable TrustThe Martin G Smith FoundationSnowdon TrustSophie’s Silver Lining FundThe JMCMRJ Sorrell FoundationThe Stevenson Family’s Charitable TrustThe Bernard Sunley Charitable FoundationThe Tansy TrustThe Taylor Family FoundationThe Thompson Family Charitable Trust

The Constance Travis Charitable TrustUniversal Music UK Sound FoundationSir Siegmund Warburg’s Voluntary SettlementThe Blyth Watson Charitable TrustThe Kurt Weill Foundation for Music IncThe Charles Wolfson Charitable TrustThe Wolfson FoundationThe Worshipful Company of MusiciansYamaha Music Europe

INDIVIDUALS Dame Jenny Abramsky DBECharles and Claire AlexanderFarid AlizadehDr Heather AllanThe Athena ScholarshipAngela BakerMikhail Bakhtiarov and Svetlana BesfamilnayaDavid and Marie-Jane BarnettNicholas BerwinSimon BirrellLord and Lady BlackwellRichard BlurtonJennie BlytheSally BoxCatherine BradleyDr Nicholas and Joanna BreachHelen BrockisAlan BrownJohn BurgessLord and Lady BurnsEstate of the late Kenneth Bysouth In memory of Sheila BysouthChristopher Campbell CBELord and Lady Carnwath of Notting HillJohn and Vera ChownGordon ClarkEstate of the late Ronald CleakJames ColesPaul and Carol CollinsEstate of the late Antonio ContrerasRobert and Laura CoryEstate of the late Farquharson CousinsMiranda CurtisDavid Cutforth

Sir Howard and Lady DaviesGeoffrey and Anne De’AthEstate of the late Stella DucatDeirdre Dundas-GrantHeather DupreEaton Music ScholarshipAnne EdwardsMark and Margaret ElliottKate Elmitt and Pauline BrandstätterProfessor Margaret FaultlessMatthew and Sally FerreyJeffrey and Patricia FineDenys and Vicki FirthBarbara Fisher OBEThe Fordyce AwardMichael FossNeil and Debbie FranksThe late HW Freeman-AttwoodHenrietta Freeman-AttwoodProfessor Jonathan Freeman-Attwood CBELesley Garrett CBEThe late Geoffrey GilbertProfessor Michael GilsenanKyoko GledhillHRH The Duchess of Gloucester GCVOCharles and Analida GrahamCornelia GrassiFriends and students of Alan HackerNigel HamwayPeter Hardy and the Friends of the Clumber StudioHilary HartRosamund HatteySundari HellerEstate of the late Michael HeronCindy Ho

The late Christopher HogwoodCharles HollowayIn memory of Alison HutchinsEstate of the late Patricia JonesWyndham JonesJean-Charles and Luce JulienJoseph and Jill KaraviotisRehmet Kassim-Lakha de MorixeMiriam KeoghCedric LeeLord and Lady Lloyd of BerwickDame Felicity Lott DBELady LousadaMark and Liza LovedayHin-Cheung LovellSimon LyonsCathy MackerrasThe late Lady MackerrasRaffy and Joanne ManoukianEstate of the late Kenneth ManterfieldDonald MeadEstate of the late William MealingsSandra MedinaJane and David MetterVincent MeyerDaniel MooreMarliese MyerscoughBarbara Ann NashEstate of the late Billy NewmanWilliam and Sarah NewsomJames Newton HowardGeorge Nissen CBE and Jane NissenJames and Caroline Noble

W Robert OgdenCatherine OsborneJudith ParkerTimothy ParkerSuki and Anthony PayMr Raymond PigottRichard and Alice PortnoyJohn and Susan ReizensteinVanda RentonCarolyn RichardsEstate of the late Ann RichardsonEstate of the late Julie RoachSir Simon Robey KBENellie RomanoEstate of the late Gillian RoySir George Russell CBE and Lady RussellLady Sainsbury of Turville CBELord Sainsbury of TurvilleDr Frances SlaterJames SmillieSir Martin Smith and Lady Smith OBENicholas Snowman OBESir James SpoonerBarry Sterndale-BennettLord and Lady Stevenson of CoddenhamThe late John Streets MBEJohn and Nula SuchetRosamund SykesThe late Sir David Tang KBEIn memory of Mary Blanche Tannock Estate of the late Dorothea ThomasMarjorie Thomas Art of Song PrizeValentine ThomasJonathan Thorne

Prof Sir Richard Trainor KBE and Prof Marguerite DupreeAnthony and Peta TravisMary Tredennick, in honour of her sister, JoyFelicity TrewEstate of the late John TroupKelle TurnerSidney ValleyDr Matthias von der TannThe Revd John Wates OBE and Carol WatesOwen and Veronica Williams-EllisDamian WisniewskiDavid Witherow and Elizabeth WrightRichard and Jacqueline WorswickDr Peter WorthingtonJohn and Julia Yorke

We also thank those donors who wish to remain anonymous

44 45


ANNUALREPORT2017-18

GOVERNANCE

PATRON HM The QueenPRESIDENT HRH The Duchess of Gloucester GCVO Hon FRAM

VICE PRESIDENTSLord Burns GCB Hon FRAM

Sir Elton John CBE Hon RAM, DMus

Sir David Lumsden MA, DPhil, Hon RAM, Hon FRCO

Sir Curtis Price KBE Hon RAM

GOVERNING BODY

INDEPENDENT MEMBERS (TRUSTEES)CHAIRDame Jenny Abramsky DBE Hon RAM

DEPUTY CHAIRSLady Sainsbury of Turville CBE Hon FRAM, FSA

The Rt Hon Lord Sumption OBE PC, FSA, FRHistS, Hon FRAM

TRUSTEESLord BlackwellJohn Burgess Hon FRAM

Robin Butler Hon FRAM

Lucy Crowe FRAM

Matthew Ferrey Hon FRAM (retired July 2018)

Amanda HillRehmet Kassim-LakhaTimothy ParkerProfessor Sir Richard Trainor KBE BA, MA, DPhil, FKC, Hon FRAM

John Willan BMus, FRAM, FRSA, FCA (retired July 2018)

William de Winton Damian Wisniewski BSc (Eng), ACGI, LRAM, ACA

ACADEMIC STAFF REPRESENTATIVESMelanie Ragge MPhil (Cantab), MA (Cantab), LRAM, DipRCM

Jon ThorneADMINISTRATIVE STAFF REPRESENTATIVEKathryn Adamson MA, Hon FRAM

STUDENT UNION PRESIDENT AND STUDENT REPRESENTATIVERachael O’Brien BMus (retired July 2018)

SECRETARY TO THE GOVERNING BODY Sandra Green Hon ARAM

SENIOR MANAGEMENT TEAM

PRINCIPAL Professor Jonathan Freeman-Attwood CBE BMus, MPhil,

Hon RAM, FKC, FRNCM, FRCM

DEPUTY PRINCIPAL AND DEANMark Racz BA, MFA, Hon FBC, Hon RAM

DEPUTY PRINCIPAL (PROGRAMMES AND RESEARCH)Professor Timothy Jones MA, DPhil, LTCL, Hon RAM

DEPUTY PRINCIPAL (ADVANCEMENT) Kirsty MacDonald BA, MA (Oxon)

DIRECTOR OF FINANCEJudith Barber BSc, CPFA, Hon ARAM

HONORARY TRUSTEES

Lord Armstrong of Ilminster GCB CVO Hon FRAM

Sir Rodric Braithwaite GCMG Hon FRAM

The Rt Hon Lord Carnwath CVO Hon FRAM

Sir Howard Davies Hon FRAM

Matthew Ferrey Hon FRAM

Lesley Garrett CBE FRAM

Sam Gordon Clark CBE Hon FRAM

Lady HeywoodProfessor Sir Barry Ife CBE FKC, FBbk, Hon FRAM, FRCM, FGS

Dame Felicity Lott DBE FRAM, FRCM

George Nissen CBE Hon FRAM

William Robert C Ogden Hon FRAM

Professor Roger Parker Hon FRAM

Christopher Purvis CBESir John Ritblat Hon FRAM

Sir Simon Robey Hon FRAM

Lady Smith OBE Hon FRAM

Sir Martin Smith Hon FRAM

Nicholas Snowman OBE Hon RAM

Sir James Spooner Hon FRAM

John Suchet Hon FRAM

Anthony Travis Hon FRAM

John Willan FRAM

Julia Yorke Hon FRAM

The title of Honorary Trustee is awarded to retired Independent Members of the Governing Body to recognise their distinguished service to the Academy.

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ANNUALREPORT2017-18

The Royal Academy of Music was established in 1822 and granted a Royal Charter in 1830 (Supplemental Charter granted in 1998). The Academy is a registered charity, number 310007, and a company registered with Companies House, number RC000438.

Royal Academy of Music © 2019

Every effort has been made to ensure that the information included in this

publication is correct at the time of going to print. Any queries regarding

its content should be addressed to [email protected]

IMAGE CREDITSPages 2, 7 (top), 20, 47: Robert Workman

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Pages 4, 24: Owen Billcliffe

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Pages 7 (bottom), 11, 16, 18, 38: Simon Jay Price

Page 9: Lars Borges (left); Marc Brenner (right)

Page 10: Marco Borggreve (top); Jo Magowan (bottom)

Pages 12, 28: Frances Marshall

Page 13 (left): Kate Cowdrey

Pages 22, 23, 34: Adam Scott

Page 30: Saki Kato

Page 31: Clive Lawrence (left); Benny Vernon (right)

Page 32: Benjamin Ealovega (left); Benny Vernon (right)

Page 33: Andrew McCoy (left); EB Image (right)

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