Conductor Takuo Yuasa Soprano Giselle Allen Mezzo-soprano Kitty Whately - Guildhall Symphony Orchestra & Chorus
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24 September 2021 7.30pm Barbican Hall Guildhall Symphony Orchestra & Chorus Takuo Yuasa Conductor Giselle Allen Soprano Kitty Whately Mezzo-soprano
Guildhall School of Music & Drama Barbican
Founded in 1880 by the Mahler
City of London Corporation Please try to refrain from coughing until
normal breaks in the performance. Symphony No 2
Chairman of the Board of Governors
Graham Packham
If you have a mobile phone or digital watch, ‘Resurrection’
please ensure that it is turned off during the
Interim Principal performance.
Professor Jonathan Vaughan Guildhall Symphony Orchestra
In accordance with the requirements of the
FGS DipRCM (Perf) DipRCM (Teach) Guildhall Symphony Chorus
licensing authority, sitting or standing in
Takuo Yuasa conductor
Interim Director of Music any gangway is not permitted.
Giselle Allen soprano
& Head of Vocal Studies
No cameras, tape recorders or other types of Kitty Whately mezzo-soprano
Armin Zanner
recording apparatus may be brought into Linnhe Robertson chorus master
the auditorium. It is illegal to record any
performance unless prior arrangements have
Please visit our website at gsmd.ac.uk
been made with the Managing Director and Friday 24 September 2021
the concert promoter concerned. 7.30pm, Barbican Hall
No eating or drinking is allowed in the
auditorium. Smoking is not permitted
anywhere on the Barbican premises.
Barbican Centre
Silk St, London EC2Y 8DS
Administration: 020 7638 4141
Box Office Telephone Bookings:
020 7638 8891 (9am–8pm daily: booking fee)
barbican.org.uk
Guildhall School
is part of Culture Mile:
culturemile.london
Guildhall School is provided
by the City of London as part
of its contribution to the cultural
life of London and the nation.Welcome
Welcome to a very special season opener. This is a double
celebration as we cheer the arrival of the next generation of
Guildhall musicians – on stage together for the first time – and
your return as a live audience to experience our music-making in
the Barbican Hall. For all the low-latency wizardry that allowed
us to stream our orchestra from multiple locations straight to your
living rooms last year, we have missed your physical presence. The
performers tonight will savour the energy you bring, your focus,
your response, just as we hope you will relish hearing them play
and sing in Mahler’s Second Symphony.
We could not have aimed bigger to mark this joint arrival of
musicians and audience. Mahler called for huge forces in a piece that
resonates with the emotions of our pandemic time. Horror and hope
crash together, chaos and calm intertwine, disruption lurks around
the corner of even the most comforting musical moment. Yet in the
end, when massed voices enter for the final movement, we know this
is a work of recovery, of renewal – the ‘resurrection’ of the title. We
are delighted to share it with you as we look forward to better days,
joined by alumnae Giselle Allen and Kitty Whately as soloists, and
conductor Takuo Yuasa, a regular friend of Guildhall School.
Welcome back.
Armin Zanner
Interim Director of MusicGustav Mahler (1860–1911)
Symphony No 2 in C minor, ‘Resurrection’
(1888–94)
1. Allegro maestoso: Mit durchaus ernstem und feierlichem German folk-poetry collection that was popular with the German
Ausdruck (With a serious and solemn expression throughout) – Romantics. The song ‘Des Antonius von Padua Fischpredigt’ (St
Vörwarts (Forwards): Poco più mosso Anthony of Padua’s Sermon to the Fish) was reworked to form the
symphony’s third movement, and ‘Urlicht’ (Primal Light) became
2. Andante moderato: Sehr gemächlich. Nie eilen
the fourth. Mahler also returned to earlier sketches, made around
(Very moderate – Never rush)
the time of his Wunderhorn settings, to complete the symphony’s
3. In ruhig f liessender Bewegung (Calmly flowing) – second movement.
4. ‘Urlicht’: Sehr feierlich, aber schlicht (Choralmässig) It was at the funeral of the conductor von Bülow, where he heard
(Very solemn but simple, like a chorale) – the resurrection chorale ‘Aufersteh’n’ (Rise again), that Mahler
found the inspiration for the finale. ‘It was as if I had been struck
5. Im Tempo des Scherzos: Wild herausfahrend (In the same tempo as
by lightning,’ he wrote. ‘Everything suddenly seemed crystal clear.’
the Scherzo: in a wild outburst) – Langsam (Slow) – Maestoso –
Working from sketches he wrote down immediately afterwards, he
Allegro energico – Langsam – ‘Der grosse Appell’ (The Great Call)
completed the finale’s draft in three weeks during that summer.
– Langsam, misterioso – Etwas bewegter
(A little livelier) – Mit Aufschwung, aber nicht eilen (With Mahler outlined various versions of a programme for the symphony,
uplift, but no rushing) – Langsam one of which begins with a hero being laid to rest. The second
movement recalls an episode of blissful happiness, while the third
There’s a monumentality about Mahler’s Second Symphony that
reflects his remoteness from the world – like ‘someone who has lost
provokes a matching response. The conductor Hans von Bülow,
himself and his happiness’ and who ‘watches a dance from a distance,
hearing Mahler play through the symphony’s first movement at
without hearing the music’. The fourth movement, ‘Urlicht’, explores
the piano, commented: ‘Compared with this, [Wagner’s opera]
the human soul’s search for God while the dramatic finale tackles the
Tristan and Isolde is a Haydn symphony’. Over 70 years later, for
subjects of redemption and judgement: ‘rich and poor, peasants and
the 11-year-old Simon Rattle, hearing this work was the ‘totally
kings, the whole church with bishops and popes’.
transfiguring experience’ that inspired him to take up the baton.
It is a high-water mark in the symphonic canon, not only for The first movement is almost as dramatic as the finale to come,
its length – its five movements span around 85 minutes – or its beginning with a stabbing tremolo from which emerges a
scoring for huge orchestra including offstage brass and percussion grim funeral march in cellos and basses. Contrast comes with a
and ‘the largest possible contingent of strings’, plus soprano and heavenly ascending theme in violins. Elsewhere we hear the typical
alto soloists and a chorus; but also for its subject matter, which deals influences of fanfares, birdsong and chorales.
with human struggles in the real world, longing for God and the
The Andante brings relief in the guise of a gentle Ländler, the
ultimate reckoning – the Day of Judgement.
country cousin of the waltz. The contrasting minor-key section
Mahler completed the first movement in August 1888, only raises a tone of doubt, especially on its second appearance, when it
months after finishing his First Symphony. It was four years later gains ground, but the sheer charm of the Ländler prevails.
that he returned to the symphony, with work possibly hampered
As Mahler’s programme suggested, the third movement (linked
by the deaths in close succession of his father, mother and sister
to ‘St Anthony of Padua’s Sermon to the Fish’) presents a note of
Leopoldine, and then the commitments of his new role as chief
isolation. (In the song, St Anthony finds the church empty and
conductor of the Hamburg State Theatre. So it was in 1893, in
preaches instead to the fish by the river, but they show no interest).
the idyllic seclusion of his country composing hut in Steinbach-
The swirling movement takes on the impression of a slow, dizzying
am-Attersee, that Mahler worked on the next three movements.
dance of death. Towards the end comes a cry of anguish before the
Two of them stemmed from his orchestral song-cycle Des Knaben
Scherzo gradually winds down.
Wunderhorn (‘The Youth’s Magic Horn’), settings of texts from theTakuo Yuasa
conductor
‘Urlicht’ (the second Wunderhorn borrowing) calms the tension Takuo Yuasa is a personable and highly regarded conductor. He
again, with a radiant summoning of the soul to heaven, after which regularly performs throughout Europe and the Far East and in
the finale crashes in with a return of the third movement’s cry of recent seasons has conducted at the Grand Théâtre de Provence in
anguish. The triumph in this vast movement – around 30 minutes Aix, the Royal Festival Hall and Barbican in London, the
in length – is hard-won. At the heart-stopping turning point all Konzerthaus in Vienna, the Alte Oper in Frankfurt, the Liederhalle
falls silent and offstage brass eerily sound the Last Trump. Here the in Stuttgart and the Sibelius Hall in Lahti, Finland.
chorus enters with that resurrection chorale; ‘Rise again’ sings the
Born in Osaka, where he studied piano, cello, flute and clarinet, he
large chorus. Mahler was clear on what he believed our fate to be.
is deeply imbued in western culture having left Japan when he was
‘There is no judgement, no sinners, no just men, no great and no
eighteen to study in the USA at the University of Cincinnati where
small, there is no punishment and no reward.’ It’s a triumph of the
he completed a bachelor degree in theory and composition. He then
human spirit over the shackles of earthbound life.
went on to study conducting, at the recommendation of István
Programme notes by Edward Bhesania © 2021 Kertész and János Starker, with Hans Swarowsky at Vienna’s
Hochschule, Igor Markevich in France and Franco Ferrara in Siena,
before becoming assistant to Lovro von Matačić.
His commanding versatility is recognised by orchestras around
the world, and he has performed with the BBC Scottish
Symphony Orchestra, the Warsaw National Philharmonic, the
Polish Radio National Symphony Orchestra, Ulster Orchestra and
many more. Takuo has a most successful recording career as a
Naxos artist with the Sydney Symphony Orchestra, New Zealand
Symphony Orchestra, Ulster Orchestra, BBC Scottish Symphony
Orchestra, National Symphony Orchestra of Ireland and others.
Takuo received the prestigious Iue Cultural Award in October
2007, created by Toshio Iue (founder of SANYO), for his
exceptional contribution to music and for his international artistic
achievements. He is also Professor Emeritus of the Tokyo University
of Fine Arts and Music.Giselle Allen Kitty Whately
soprano mezzo-soprano
Irish soprano Giselle Allen’s recent engagements include her debut Kitty Whately trained at Chetham’s School of Music, Guildhall
in the title role of Elektra for Irish National Opera at Kilkenny School of Music & Drama, and the Royal College of Music Opera
Festival where she gave exceptional performances. Earlier this year, Studio. She won both the Kathleen Ferrier Award and the 59th
Giselle travelled to Brussels to appear in La Monnaie’s new live- Royal Over-Seas League Competition in the same year, and was a
streamed production of The Turn of the Screw winning accolades for BBC New Generation Artist from 2013-15, when she recorded her
her renowned portrayal of Miss Jessel. debut solo album This Other Eden, made recordings with the BBC
orchestras, commissioned a new song cycle from Jonathan Dove,
At her artistic home, Opera North, Giselle has enjoyed some of her
and made several appearances at the BBC Proms.
greatest successes, most recently as Anna Maurrant in Street Scene
and in the title role of Tosca (both new productions), as well as Mila Kitty made her debut with the Berlin Philharmonic Orchestra,
in Osud and Santuzza in Cavalleria Rusticana. She also sang the title singing Mendelssohn’s A Midsummer Night’s Dream, as well as a
role in Salome in concert at The Sage, Gateshead with Richard Farnes recital alongside Malcolm Martineau at the Royal Conservatoire of
conducting. Other Opera North highlights include performances as Scotland. Subsequent performances include Mahler Das Lied von der
Gutrune, Gerhilde and Freia in their celebrated Ring cycle of 2016, Erde at the Mizmorim Festival in Basel, The Dream of Gerontius with
which toured the UK and was broadcast live on BBC Four. Crouch End Festival Chorus at the Queen Elizabeth Hall, and recitals
of English song at Wigmore Hall, Oxford Lieder Festival and the
Other career highlights include Ellen Orford in Peter Grimes at
Salisbury International Festival. She has given performances with
Bergen International Festival under the baton of Edward Gardner, a
most of the UK’s major orchestras, including the Dunedin Consort,
role she previously sang at Opera North, at Berlin’s Komische Oper
Royal Philharmonic Orchestra, Royal Northern Sinfonia, Scottish
and in the renowned 2013 Snape Maltings production on the beach
Chamber Orchestra, Philharmonia Orchestra, Britten Sinfonia and
at Aldeburgh (broadcast on BBC Four and released on DVD).
the Choir of King’s College Cambridge. She performed Elgar’s The
Further afield, Giselle appeared with Opéra National de Lyon and Dream of Gerontius at St John’s Smith Square and Queen Elizabeth Hall
Opernhaus Zürich as Miss Jessel and made her debut with Canadian and Handel’s Messiah at the Royal Albert Hall. Kitty has performed
Opera Company as Marie in Wozzeck. She has also appeared as at all the major music festivals, working regularly with renowned
Wellgunde in Das Rheingold and Gutrune in Götterdämmerung accompanists including James Baillieu, Julius Drake, Graham
at the Covent Garden Festival, as well as Salome in Massenet’s Johnson, Simon Lepper, Malcolm Martineau, Gary Matthewman,
Hérodiade at the Anna Livia International Opera Festival in Joseph Middleton, Anna Tilbrook and Roger Vignoles.
Dublin.
Operatic performances include Hansel Hansel and Gretel (Scottish
In concert, Giselle sang Wagner’s Liebestod at St David’s Hall Opera), Kate Owen Wingrave (Grange Park Opera), Annina Der
Cardiff, Beethoven’s Ninth Symphony with the Philharmonia Rosenkavalier (Garsington Opera), Peep-Bo The Mikado (English
Orchestra and City of Birmingham Symphony Orchestra, Janáček’s National Opera), Isabella Wuthering Heights and Kate Owen
Glagolitic Mass with Sir Mark Elder and the Hallé Orchestra, Wingrave (Opéra national de Lorraine), Paquette Candide (Bergen
Dvořák’s Te Deum with the Royal Liverpool Philharmonic National Opera) and Mother/Other Mother Coraline (world
Orchestra, and Kurt Weill’s Rise and Fall of the City of Mahagonny at premiere at the Barbican, produced by the Royal Opera House).
Edinburgh International Festival.
Kitty’s second album, Nights not spent alone, was recorded in a
co-production between Champs Hill Records and the BBC, and
accompanied by distinguished pianist Simon Lepper, the disc
presents complete works for mezzo-soprano by Jonathan Dove.
Kitty is the co-founder of the charity SWAP’ra (Supporting Women
and Parents in Opera).Linnhe Robertson Guildhall Symphony Orchestra
chorus master
Linnhe Robertson has worked extensively in the major music Violin I Cello Percussion
Horn
centres throughout the world as a vocal coach, repetiteur, Yuriko Matsuda* William Clark-Maxwell*
Christos Maltezos* Charlie Hodge*
accompanist and harpsichordist. She began her career as a member Willard Zhong Kathryn Monteiro Paul Coll Tulloch Longfei Wang
Anna Mollà Aliaga Gabriel Francis-Dehqani Tom Hodgson
of music staff at Australian Opera. After a period of study in Fran Gordon
Mariana Cabral Monteiro William Lui Ka Hei Ma Will Miles
Germany in Lied Accompaniment, Linnhe remained there Jacqueline Monteiro Anna White Lauren Bye
Joshua Pizzoferro
working as a vocal accompanist and as assistant to vocal Professor Rowan Dymott Vasco Ferrão Dias Alex Harris
Kaiser-Breme at the Bayreuth International Wagner Festival. Madeleine Dawson Joseph Barker David Sztankov Offstage percussion
With her move to Great Britain, Linnhe changed music direction Isabelle Allan Annie Walton Cameron Gorman*
Offstage horn
Emma McNeely Alexander Scott-Brown Bogdan Skrypka
and pursued a high-profile career as a harpsichordist throughout Tabitha Bolter*
Cláudia Costa Gonçalves
Stefan Horvath Emma Cox
the UK and Europe. She performed and recorded as the resident Jack Reilly
Ross Hume
Niamh Rodgers
harpsichordist with the Bournemouth Sinfonietta and with other Tanya Perez Jovetic
Double bass Frederike Schroeder-Rossell Harp
notable early music ensembles, such as the English Baroque Soloists Abbie Davis
Georgia Lloyd*
Ho Chun Yuen Beth Caswell*
under Sir John Eliot Gardiner. During this period, she also worked Chiu Yung Chan Trumpet Arwen Withey-Harrison
Vanessa White
as repetiteur with the English National Opera under the Music Dominique Judd
Antonio Díaz Fernández Thomas Nielsen* Sabrina Savenkova
Directorship of Sir Mark Elder. Max Salisbury Tom Watts Tristan Little
Anna Holmes
Evangelos Saklaras Jacob Griffiths
In 1989 Linnhe was invited to take up the position as Head of Music Tom Mahoney Maciej Kropidlowski
Melisande Lochak Imogen Timmins Organ
and Director of the Young Artists’ Programme at the Victoria State Violin II
Anna Kosinska-Zalubska* David Domingez Vardas Louis Grao Edward Picton-Turbervill
Opera in Melbourne, a position which continued with the merger Adam Meyer
Elizabeth Merrifield
of that company and the Sydney-based national company (renamed Maris Pilgrim
Flute & Piccolo Offstage Conductor
Opera Australia). Through the success of her work with the training Fiona Cheung Offstage trumpet
Julia Schmidt* Naomi Butcher
and development of young opera singers, Linnhe was awarded a Wei Ling Thong Rachael Watson Lucas Houldcroft*
Churchill Fellowship in 1993, which she used for further research Anna Brown Fiona Sweeney Patrick Wilson
Joyce Lee Anna Ryan Frank Coughlan
into varying worldwide training systems for young singers. Evan Lawrence Olga Malawska
Ensembles, Programming
& Instrument Manager
Amy Le-Mar
On returning to the UK in 1999, Linnhe completed a Masters Oboe Phil Sizer
Erola Masqué
degree in Arts Management at City University. After a period Lara Caister Richard Lines-Davies* Trombone
of working as an artists’ manager, and as General Manager of Tilman Fleig Charlotte Brenton Gemma Riley* Orchestra Librarian
a contemporary classical music ensemble, she became Deputy Laura Hussey Emily Crichton (cor anglais) Joshua Barber Anthony Wilson
Grace Powell Sam Willsmore (cor anglais) Ben Newman
Head of Vocal Studies and subsequently Head of Vocal Studies at Sam Clough (bass)
Guildhall School until 2013. She is now the Artistic and Research Clarinet Orchestra Stage
Consultant for Opera & Voice at Guildhall. Linnhe also coaches the Viola Fresca David*
Tuba Manager
Jette Parker Young Artists at the Royal Opera House. Matt Johnstone* José Hita García Bill Bannerman
Nicholas Smith
Iina Marja-Aho Cara Doyle (bass)
Linnhe has worked as chorus master for many Guildhall concerts Elena Sanchez Beñat Erro Díez (E-flat)
Timpani
Sirma Baramova Marian Bozhidarov (E-flat) *Section principal
and projects. She was assistant chorus master for the production John Rousseau*
Hannah Roberts
of Peter Grimes at Salzburg Festival with Sir Simon Rattle and Joshua Law
Francisco Negreiros
Bassoon
chorus master in Berlin, also with Simon Rattle, and the Berlin Eleanor Walton Lucy Gibson*
Philharmonic. Linnhe was chorus master for Aldeburgh Festival’s Eve Quigley Hazalen Tang
The Rake’s Progress and assistant chorus master for their production Jennifer McEwan Isabelle Cave
Iva Durkovic Daria Phillips (contra)
of Peter Grimes which was performed on the beach at Aldeburgh
Jake Montgomery-Smith
(and subsequently produced as a film). Eli RnicGuildhall Symphony Chorus Guildhall School Music Administration
& Induction Ensembles
Sam Greening Aoife Moran Kang Yang UG Academic Studies,
Chorus master Head of Music We would like to thank
Alex Groves Shana Moron-Caravel Sarah Young Composition & Keyboard
Linnhe Robertson Administration the following staff for
Yuhan Gu Inguna Morozova Biqing Zhang Departments Manager
James Alexander their assistance with the
The following students Owain Gwynfryn Annie Morris Violet Zhou Brendan Macdonald
various Induction projects:
are taking part in Felix Gygli Sam Morton Morris Billy Zhu Deputy Head of
WBP & Historical
Induction activities: Yuki Hammyo Elizabeth Mwale Music Administration
Performance Manager Julian Anderson
Roza Herwig Mai Nakase (Planning)
Soloist covers Michal Rogalski Dylan Bate
Stanley Aitken Aldi Ho Luke Nguyen Sophie Hills
Cleo Lee-McGowen Alisdair Hogarth
Aniket Anand Nancy Holt David O’Carroll PG Music Studies &
Amy Holyland Deputy Head of Pamela Lidiard
Daniel Angell James Housego Maria O’Dea Chamber Music Manager
Music Administration Paul Newland
Alexander Arenare Jake Houston Daisy Ou Nora Salmon
(Admissions & Gavin Roberts
Eleanor Austin Hannah Rebecca Hughes David Palmer
Assessment) Mike Roberts
Leonardo Barbosa Toni Huang Theano Papadaki Jazz & Supplementary
Names correct at time of Jen Pitkin Ben Smith
James Barker Alvaro Ibarra Sosa Jess Parnell Studies Manager
going to print. Daniel Whewell
Maddy Battista Leah Inman Thomas Pickering Concert Piano Technicians
Corinna Sanett
Mark Christian Bautista Ye Jeon Noam Pnini JP Williams Ensembles, Programming Symphony Orchestra
Hugh Beckwith Eliran Kadussi Alexandra Pouta Patrick Symes & Instrument Manager Tutors
Ed Birchinall Yin Wai Wailly Kau Eiry Price
Phil Sizer Clare Duckworth (violin I)
Caroline Bourg Spencer Klymyshyn Tyler Rankin-Jones ASIMUT & Music
Sarah Quinn (violin II)
Will Bracken Ivelina Krasteva Inês Reis Timetable Manager
Senior Music Office Germán Clavijo (viola)
Josh Brierley Michael Lafferty-Smith Tiago Ribeiro Graeme Booth
Administrator & EA to the Alistair Blayden (cello)
Luke Byrne Aïda Lahlou Katie Richardson McCrea
External Engagements Director of Music & Head Tom Goodman (bass)
Sean Byrne Yung Lai Charles Risius
Manager of Music Administration Trish Moynihan (flute)
Sebastian Carpenter Rosane Lajoie Catrin Roberts
Jo Cooper Peter Smith John Lawley (oboe)
Carlos Cerchiaro Rivero Luke Lally-Maguire Rachel Roper
Liz Drew (clarinet &
Callum Champion Cyrus Lam Ella Sandin Student Compliance & Jazz Ensembles & woodwind)
Theo Chapple Joanna Lam Rebecca Savage ASIMUT Performance and Equipment Manager Fraser Gordon (bassoon)
Michelle Cheung Lyla Levy-Jordan Roy Shafrir Events Systems Manager Adam Williams Alex Edmundson (horn &
Ambrose Chiu Regina Legarte Sunhye Shin João Costa offstage)
Stefan Christie Yu-Chieh Lin Faryl Smith
Strings & Music Therapy Gerry Ruddock (trumpet)
Geoff Clapham Thomas Litchev Henry So
Manager Jim Maynard (trombone,
Teah Collins Max Lo Louisa Stirland
Liam Donegan tuba & brass)
Telidga Crockford Arielle Loewinger Hidde Stobbe
Sam Walton (percussion)
Charles Curtin Gustavo Lourenço Reis Charlotte Stocks Opera Department Bryn Lewis (harp)
Jack Dolan Louis Loze-Carey Violetta Suvini Manager David Corkhill (offstage)
Patrick Dow Danielle Mahailet Faelan Sydenham Steven Gietzen Anna Bastow (tutti strings)
Cuan Durkin Alannah Makoni Aimee Taranni
Dan Jemison (woodwind)
Karima El Demerdasch Freya Mallinson Harun Tekin Vocal Department
Timothy Jones (brass)
Ceri Ellis Andrei Mamara Bethan Terry Manager
Frank Zielhorst
Bridget Esler Kate Mason Shimona Thevathasan Martha Hartman
(preparation conductor)
Sebastian-Benedict Flore Annie McChrystal Georgia Tolson
Music Programmes
Anika-France Forget Tom McGowan Stefani Trendafilova
Administrator Jazz Tutors
John Frantzeskakis Lorna McLean Leif Tse
Miranda Humphreys Winston Clifford
Matilde Freiria George Meeks Ida Tunkkari
Sinziana Vrabie Stuart Hall
Andrew Garrido Alexandra Meier
Gareth Lockhart
Charlotte Glyn-Woods Sofia Mekhonoshina Gillian Walker
Scott Stroman
Dena Goodman Karina Menchin Laura West
Liz Swain
Jonty Gould Sam Meredith Iona Woods Byron Wallen
Joseph Graydon Miriam Miskovska Vladyslava Yakovenko Clare WheelerOur Supporters
The Guildhall School is grateful for The Worshipful Company of Tallow
Major Benefactors (£10,000+) Benefactors (£5,000+)
the generous support of the following Chandlers
Anonymous The Anglo-Swedish Society
individuals, trusts and foundations, City The Worshipful Company of Wax Chandlers
The Maria Björnson Memorial Fund The William Brake Foundation
livery companies and businesses, as well The Worshipful Company of Weavers
Ms Elmira Darvarova Sir Nicolas Bratza
as those who wish to remain anonymous.
David Family Foundation The John S Cohen Foundation
For further information about supporting
This list acknowledges support of donors Mark Dixon & Giulia Nobili The Noël Coward Foundation
Guildhall School and its students,
during the financial year 1 August 2020 – The D’Oyly Carte Charitable Trust Ms Marianne Falk
please contact the Development Office
31 July 2021 and is correct as of 1 August The Drapers’ Company Ms Lesley Ferguson
on 020 7382 7179 or email
2021. Although we make every effort to The Albert & Eugenie Frost Music Trust CIO John Ford (HonFGS) & Amy Ford
development@gsmd.ac.uk
ensure its accuracy, please contact us at The Girdlers’ Company Charitable Trust The Fortisure Foundation
development@gsmd.ac.uk if you have The Haberdashers’ Company Dr Madeleine Gantley
We have done our utmost to ensure the
any queries. The Josephine Hart Poetry Foundation Hargreaves and Ball Trust
information listed here is accurate. If there
The Headley Trust The Ironmongers’ Company
is anything you would like us to amend
Professor Sir Barry Ife and Dr Trudi Darby Ms Gillian Laidlaw
please get in touch.
London Symphony Orchestra Mr Damian Lewis, OBE, FGS
Exceptional Giving (£100,000+)
The Herbert and Theresie Lowit Memorial Alison Love - In memory of Barry
The Leverhulme Trust The Guildhall School Trust is a Registered
Scholarship MacDonald
Charity, No. 1082472
The Sidney Perry Foundation Lord and Lady Lurgan Trust
Founding Corporate Partner
The Rudge Shipley Trust Mme Marina Martin
Eversheds Sutherland
Mitzi Scott Rabinowitz Dr Rex Melville
The Skinners’ Company – Lawrence Atwell’s The Mercers’ Company
Leadership Giving (£25,000+)
Charity Merchant Taylors’ Company
Anonymous
The South Square Trust Mr Ken Ollerton and Miss Jane Rigler
The Amar-Franses & Foster-Jenkins Trust
The Worshipful Company of Carpenters The Stanley Picker Trust
City of London Education Board
The Worshipful Company of Grocers The Salters’ Company
The Fishmongers’ Company
The Worshipful Company of Innholders The Edward Selwyn Memorial Fund
Norman Gee Foundation
The Worshipful Company of Tobacco Pipe The Steel Charitable Trust
The Goldsmiths’ Company Charity
Makers Steinway & Sons
The Leathersellers’ Company
The Thompson Educational Trust
The Late Ms Ariadne Van De Van
Mr Hugh Vanstone
The late Mrs Berthe Wallis
Ms Anna Weeks
The Wolfson Foundation
The Worshipful Company of Barbers
Henry Wood Accommodation Trust
The Worshipful Company of Chartered
Surveyors
The Worshipful Company of Cordwainers
The Worshipful Company of Dyers
The Worshipful Company of Gold and Silver
Wyre Drawers
The Worshipful Company of Horners
The Worshipful Company of MusiciansForthcoming events Guildhall School
Scholarships Fund
1–8 November, 7pm Wednesday 17 November, 7.30pm “My scholarship
Silk Street Theatre Barbican Hall
allowed me to continue
Opera Double Bill: Guildhall on into further study.
Le docteur Miracle Symphony It’s been an invaluable
& Cendrillon Orchestra
year and I’m extremely
Dominic Wheeler conductor Guildhall Symphony Orchestra
Ashley Dean director Baldur Brönnimann conductor thankful for all the
Cordelia Chisholm designer Gabriele Strata piano
Kevin Treacy lighting designer opportunities given to
Georges Bizet Le docteur Miracle
Shostakovich Symphony No 9
Rachmaninov Rhapsody on a theme me while at Guildhall”
Pauline Viardot Cendrillon of Paganini, Op 43
Sam Gillespie, MMus Performance (Clarinet)
(orch Amy Crankshaw) Mussorgsky Pictures at an Exhibition
(orch Maurice Ravel)
Guildhall Opera department celebrates
the 200th anniversary of the birth of the Guildhall Symphony Orchestra The School has experienced a considerable
extraordinary mezzo-soprano, pianist, performs a Russian feast of much-loved increase in demand on its scholarships fund
teacher and composer Pauline Viardot works by Shostakovich, Rachmaninov with the cost of living in London continuing
with a staging of her delightful salon and Mussorgsky. For Rachmaninov’s to be a major hurdle for many students.
opera Cendrillon. This opéra-comique ever-popular Rhapsody on a theme of
Scholarships are more vital than ever before,
double bill opens with Georges Bizet’s Paganini, the orchestra is joined by
ensuring that anyone with the talent and
one-act Le docteur Miracle – a witty tale Guildhall pianist Gabriele Strata, hailed
ambition to excel is not constrained by
of romance, disguise and an omelette, as ‘an exceptionally sensitive pianist’ (Il
personal circumstances.
filled with the youthful vitality of the Sole 24 Ore).
18-year-old composer. For more information about supporting
Tickets: £15, £10 (£5 concessions)
scholarships, please contact the
Tickets: £25 (£15 concessions)
Please visit gsmd.ac.uk/events to find Development Office by email
Please visit gsmd.ac.uk/events to find out more and book tickets. development@gsmd.ac.uk or visit our
out more and book tickets. website gsmd.ac.uk/support
The Guildhall School Trust is a
Registered Charity No. 1082472Join the
Guildhall Patrons
Empower our students
to light up stages
and concert halls
around the world
Your support will safeguard the School’s
specialist training of international
musicians, actors and production artists
and provide expert masterclasses, strands
of specialist teaching and the equipment
essential to maintaining Guildhall School
as a world-leading conservatoire.
As a Patron you will be richly rewarded
with performances across the breadth of
the School’s artistic disciplines. We invite
you to witness artists in training and enjoy
a fulfilling rapport with Guildhall staff,
students and fellow supporters.
For more information about becoming
a Patron, please contact:
Daniella Rodriguez, Development Officer,
daniella.rodriguez@gsmd.ac.ukYou can also read
