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Director of Opera Prof. Jane Glover CBE, MA, DPhil, Hon FRCM Music Director, Chicago’s Music of the Baroque since 2002, Music Director, Glyndebourne Touring Opera 1981–85, Artistic Director, London Mozart Players 1984–91. Conducting engagements include Royal Opera House Covent Garden, English National Opera, Glyndebourne, Berlin Staatsoper, Royal Danish Opera, New York City Opera, Opera Australia and Teatro La Fenice. Her book Mozart’s Women was nominated for the Samuel Johnson Prize and the Whitbread Prize. University of London professor from 2010.

Royal Academy Opera is a specialist and intensive postgraduate Advanced Postgraduate Diploma for those with the potential and aspirations to succeed as principals at the highest international standard. The concept of the human body being the singer’s instrument is fundamental; physical fitness, agility, stage technique, communication and vocal skills, together with a broad repertoire, are all prerequisites for today’s opera singers. Classes in body-work and movement, stage technique, European languages, singing lessons and vocal coaching form an integral part of the weekly training schedule.

The three annual productions are directed by highly-experienced professional conductors with Academy orchestras. In recent years, students have enjoyed the inspiring leadership of Sir Colin Davis, Trevor Pinnock and the late Sir Charles Mackerras. Distinguished visiting directors have recently included Mike Ashman, Robert Chevara, John Copley, John Cox, David Pountney and Anna Sweeny. Repertoire is drawn from a wide range of traditions, repertoire and styles, with a strong commitment to contemporary music and historically-aware performances.

Students also have the opportunity to study rôles in depth through individual music and language coaching. Excerpts from operas are presented in a series of scenes. Performance technique is developed through work with experienced singers such as Ann Murray and Dennis O’Neill. Close communication between staff from all areas of vocal and operatic training is of the highest importance, to balance the course’s demands with each student’s individual development.

Any opera programme should be receptive to the changing profession. Hence, the Academy has forged close connections with Glyndebourne Festival Opera, the Royal Opera House, Covent Garden, English National Opera, Welsh National Opera and British Youth Opera. After two years with Royal Academy Opera, students should be well-equipped to make the most of their opportunities in what is a fiercely competitive environment.

‘The Royal Academy of Music students under Jane Glover are remarkable’ The Guardian, March 2011

‘A triumph... outclassed anything I’ve seen on a college stage in years, inspiring wonderful performances all round’ The Daily Telegraph, March 2011

Opera auditions take place in London only. All aspiring operatic candidates should apply to audition for Royal Academy Opera. If the audition panel feels you are not yet ready for entry to this specialist postgraduate programme, you may be offered a place on the Preparatory Opera Course with a view to reauditioning for Royal Academy Opera in the following year. (Non-operatic candidates should apply for Vocal Studies.)

We also offer opportunities for pianists wanting to specialise as répétiteurs and coaches. Chosen students will work in a wide variety of repertoire, in many languages, with distinguished conductors and directors. In addition to playing for rehearsals, repetiteurs have continuing piano lessons, individual sessions with opera coaches, and many opportunities to work with language coaches and singing professors. There is also the possibility of assuming the duties of a Chorus Master and Assistant Conductor. This is normally a two-year MA, although in exceptional circumstances it may be completed in one year.

The Teachers Visiting Professors, Singing Professors, Vocal Repertoire Coaches and Song Classes and Language Professors are listed under Vocal Studies on the previous page.

International Chair of Conducting and Orchestral Studies Sir Colin Davis CBE, Hon RAM

Principal Operatic Coaches

Mary Hill MA, Hon ARAM, LRAM, ARCM (Co-ordinator of preparatory opera) Ingrid Surgenor MBE, FRAM, FWCMD, GRSM

Sir Arthur Sullivan Visiting Professor Anthony Legge MA, Hon RAM

Opera Role Coaches and Music Staff Michael Chance CBE Alexander Crowe MA

Laurence Cummings MA, Hon RAM, ARCM, FRCO (Head of Historical Performance)

Martin Handley MA Gareth Hancock MA, ARAM, ARCM Audrey Hyland BA Iain Ledingham MA, FRAM, FRCO Jonathan Papp ARAM, GRSM Michael Pollock MA, MMus, HonARAM, ARCM Peter Robinson MA, FRCO Dominic Wheeler BA, ARCO, ARCM, Hon ARAM

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Recent and Forthcoming Highlights Most recently, Cavalli’s Il Giasone; Così fan tutte; and the acclaimed world première of Kommilitonen! by Sir Peter Maxwell Davies, directed by its librettist David Pountney, all conducted by Jane Glover Albert Herring directed by John Copley; Semele conducted by the late Sir Charles Mackerras; L’occasione fa il ladro; La fedeltà premiata conducted by Trevor Pinnock; Hänsel und Gretel conducted by Sian Edwards; La Calisto; Paradise Moscow; Le nozze di Figaro conducted by Sir Colin Davis; and Dardanus conducted by Laurence Cummings In preparation: Die Dreigroschenoper and Béatrice and Bénédict Richard Lewis/Jean Shanks Award for postgraduate singers Patric Schmid Opera Rara Bel Canto Prize

Recent graduates include Emma Bell (1998) Royal Opera, La Scala, ENO Allan Clayton (2007) Glyndebourne Festival Opera Lucy Crowe (2004) English National Opera, Royal Opera

Andrew Foster-Williams (1998) ENO, Glyndebourne, Barcelona, San Francisco

Kishani Jayasinghe (2006) Royal Opera Ed Lyon (2004) Opera North, WNO Leigh Melrose (1998) La Monnaie, New York City Opera Tim Mirfin (1999) WNO, Hamburg Viktor Rud (2006) La Scala Milan William Towers (1999) Royal Opera Dong Jun Wang (2008) Oper Frankfurt

Administrator: Felicity Jackson Telephone 020 7873 7383 Email Open Day: 22nd September 2011

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