Mark Stone studied at the Guildhall School of Music and Drama. In 1998 he was awarded the Decca Prize at the Kathleen Ferrier Awards.
On the opera stage, his recent engagements have included the title role in ‘Don Giovanni’ for the Deutsche Oper Berlin, Hamburg and New Zealand Opera; Count Almaviva (Le nozze di Figaro) in Cologne and Tampere, Mountjoy (Gloriana), Mr Astley (The Gambler), Valvert (Cyrano de Bergerac) and Sonora (La fanciulla del West) at the Royal Opera House, Covent Garden; the title role in ‘Eugene Onegin’ at Glyndebourne; Eisenstein (Die Fledermaus) and Belcore (L’Elisir d’amore) at the Welsh National Opera; Demetrius (A Midsummer Night’s Dream) at Opera North; Lescaut (Manon Lescaut) in Leipzig; Elviro (Serse) for the Royal Swedish Opera; and Yeletsky (Pique Dame), Danilo (Die lustige Witwe) and Ottakar (Der Freischütz) for Opéra de Montpellier. In the U.S. he has sung Germont (La traviata), the title role in ‘Gianni Schicchi’ and Ford (Falstaff) for Philadelphia Opera and Guglielmo (Così fan tutte), in Santa Fe.
His many roles at the English National Opera have included the title role in ‘Don Giovanni’, Il Conte (Le nozze di Figaro), Guglielmo, Marcello (La bohème), Figaro (Il barbiere di Siviglia), Enrico (Lucia di Lammermoor), Silvio (I Pagliacci), Chou-en-Lai (Nixon in China) and Prince Yamadori in Anthony Minghella’s production of ‘Madama Butterfly’.
His future appearances include Count Alamaviva in Hamburg Opera and Robert Storch in Intermezzo for Garsington Opera.
In concert, his recent engagements have included the London Symphony Orchestra with Harding and Sir Colin Davis; the Hallé Orchestra with Elder; the Gabrieli Consort with McCreesh; the Bamberger Symphoniker with Norrington; the Academy of Ancient Music with Daniel and appearances with the City of London Sinfonia; the BBC National Orchestra of Wales; the Royal Liverpool Philharmonic Orchestra and the CBSO. Engagements this season include concerts with Maazel and the Philharmonia (Mahler 8), Vladimir Jurowski and the Dresden Staatskapelle (Auerbach Requiem), Xian Zhang in Milan (Britten ‘War Requiem’), Michael Schoenwandt in Amsterdam (Jeths ‘Hotel de Pekin’), Donald Runnicles in Glasgow (MacMillan ‘Passion), Paul Goodwin in London (Bach ‘St Matthew Passion’) and James Judd at the Vienna Konzerthaus (Elgar ‘The Dream of Gerontius’).
David Stout has rapidly established himself as one of the UK’s most versatile baritones. His repertoire ranges widely, encompassing early music with period instruments, Mozart, Verdi, Puccini, Britten, the bel canto repertoire and contemporary and twentieth-century works. He has earned a formidable reputation for his stage charisma, refined acting and presence on stage, as well as for being a great colleague whom other singers, conductors and directors are keen to work with again and again.
Recent highlights include a critically acclaimed Sancho Pança Don Quichotte(Grange Park); Paolo Simon Boccanegra and the title role of Falstaff with Sir Mark Elder and the Hallé Orchestra; Bach St John Passion with the Aurora Orchestra at King’s Place; Oromazes in Rameau’s Zaïs with the Orchestra of the Age of Enlightenment and Aeneas Dido and Aeneas with the English Concert at the Bristol Old Vic.
Highlights this season include the title role of Le nozze di Figaro and Fritz Kothner Die Meistersinger (both English National Opera), Sandoval Le Duc d’Albewith Sir Mark Elder and the Hallé Orchestra, and Beethoven’s Symphony No.9 at the Royal Festival Hall.
Other operatic appearances include Axel Oxenstierna in Foroni’s Cristina, regina di Svezia and The Dark Fiddler A Village Romeo and Juliet (Wexford Festival); Monterone Rigoletto, Schaunard La bohème, Zaretski Eugene Onegin and Pish Tush Mikado (English National Opera); Papageno Die Zauberflöte, Dr. Falke Die Fledermaus, Ping Turandot, Le Dancaïre Carmen, Harašta The Cunning Little Vixen and Buddha Wagner Dream (Welsh National Opera); Angelotti Tosca, Roucher Andrea Chenier, Gratiano The Merchant of Venice, Nikita Das Portraitand Mick Playing Away (Bregenzer Festspiele); Robin Oakapple Ruddigore (Opera North); Baron Douphol La traviata (Royal Opera House); Don Juan From the House of the Dead (Teatro Massimo di Palermo); Hercule Alceste (Chelsea Opera Group); and Alfio Cavalleria Rusticana (Endellion Festival).
Stout’s extensive concert repertoire includes Verdi Requiem with the Royal Philharmonic Orchestra at the Royal Albert Hall; Handel Messiah and Brahms Requiem with the Hallé Orchestra; Bach St John Passion with Polyphony at St John’s Smith Square, and Mozart Requiem with the Bournemouth Symphony Orchestra, as well as Haydn Nelson Mass, Polyphemus Acis and Galatea, Beethoven Missa Solemnis, Orff Carmina Burana, Tippett A Child of Our Time, Vaughan Williams A Sea Symphony, Walton Belshazzar’s Feast, Rossini Stabat Mater, Elgar The Dream of Gerontius, Mendelssohn Elijah and Britten War Requiem. Recent recordings include Sullivan The Beauty Stone, Haydn Creation, Mahler Lieder eines fahrenden Gesellen and Wolf Eichendorff Lieder.
Stuart Stratford read music at Trinity College, University of Cambridge, studying conducting with David Parry and later in Russia, at the Saint Petersburg State Conservatoire, Symphonic and Operatic Conducting Faculty, for three years with the legendary conducting teacher, Ilya Aleksandrovich Musin. He was the Junior Fellow in Conducting at the Royal Northern College of Music, Manchester, in 1999 and 2000. Opera is at the core of his activities. In the UK Stuart has conducted for English National Opera, Opera North, Welsh National Opera, Scottish Opera, Birmingham Opera Company, Buxton Festival with repertoire including Giovanna d’Arco, The Barber of Seville, Khovanshchina, Orfeo ed Euridice, Don Giovanni, Satyagraha, Pagliacci, A Midsummer Night’s Dream, Faust, The Turn of the Screw, Falstaff, La Boheme, Candide, Swanhunter (Dove),Tobias and the Angel (Dove), Ion (Param Vir), Kantan (Goehr), L’altra Euridice (Dove), Ariadne (Langer), The Embalmer (Batistelli). He has given the world staged premier of The Maiden in the Tower (Sibelius) and the UK staged premier of Kashchei the Immortal (Rimsky-Korsakov). He is a regular conductor at Opera Holland Park and has conducted performances of Eugene Onegin, The Queen of Spades, Jenůfa, Iolanta, Káťa Kabanová, La Forza del Destino, L’amico Fritz, Rigoletto, Lucia di Lammermoor, Cavalleria Rusticana, Pagliacci, La Fanciulla del West and Il Trittico. Outside the UK Stuart has worked at the Finnish National Opera (Doctor Atomic), Hong Kong (A Midsummer Night’s Dream), at Theater St.Gallen, Switzerland (Un Ballo in Maschera), at the Birgitta Festival with the Estonian National Opera (Faust). He has conducted concerts with many of the UK orchestras including the London Philharmonic Orchestra, BBC Philharmonic, Royal Philharmonic Orchestra, Philharmonia, London Symphony Orchestra, City of Birmingham Symphony Orchestra, City of London Sinfonia, Manchester Camerata and Viva Sinfonia. Abroad Stuart works with the Porto Symphony Orchestra, Remix Ensemble, Orchestra of the Algarve, Perm Opera and Ballet Theater, Ural Symphony Orchestra in Yekaterinburg where he gave the Russian premiere of Momentum (Turnage) and Airport Scenes (Dove). With the Australian Chamber Orchestra in Sydney he has recorded a joint Channel 4 and Australian Broadcasting Corporation film opera, The Eternity Man, which was broadcast in both the UK and Australia. Stuart has been appointed the Music Director of Scottish Opera from the 1st June 2015.
Martin Sturfält is a Swedish pianist who enjoys a busy international career as a concerto soloist and recitalist, and is also a passionate chamber musician. While his repertoire includes a large number of standard works from the baroque, classical and romantic periods, Martin is also keen to promote newer music and lesser known works in his concert programmes. In December 2009 Sweden’s main classical music magazine Opus placed Martin as number five in their New Year’s list of the most significant Swedish musicians.
Born near Katrineholm in Sweden in 1979, Martin started to play the piano around the age of four. He studied at the Stockholm Royal College of Music and at the Guildhall School of Music & Drama in London. His principal teachers were Esther Bodin-Karpe and Stefan Bojsten in Stockholm, and Paul Roberts and Ronan O’Hora in London.
Martin began giving regular concerts at the age of 11, and has since performed extensively throughout Scandinavia, UK and the rest of Europe, as well as in Asia and the USA. Highlights in recent years have included solo and chamber music recitals at all major venues in Stockholm and the rest of Sweden as well as at London’s Purcell Room, Barbican Hall, Royal Festival Hall and Wigmore Hall, the Concertgebouw in Amsterdam and the Palais des Beaux-Arts in Brussels. Martin is regularly invited as a soloist with orchestras and has appeared with among others the Hallé Orchestra and most Swedish orchestras such as the Royal Stockholm Philharmonic and the Swedish Radio Symphony, collaborating with conductors such as Sir Mark Elder, Andrew Manze and Alexander Vedernikov. His performances have been broadcast throughout Europe and the USA and he has made frequent television appearances. His critically praised début CD of the Wilhelm Stenhammar piano works was released by Hyperion Records in the autumn of 2008.
Martin has had considerable success in piano competitions, winning first prize in both the 1999 Swedish and the 2002 UK Yamaha competitions as well as the 2002 Malmö Nordic ‘Blüthner’ Piano Competition, the 2004 John Ogdon Prize, and the 2005 Terence Judd Award.
David Swinson was Head Chorister at Magdalen College, Oxford, before studying piano and organ at The Royal College of Music and then Music as Organ Scholar at Jesus College, Cambridge. Musical distinctions during this period included five RCM prizes, a scholarship from the Countess of Munster Musical Trust, and his Fellowship of the Royal College of Organists. Since graduation David has enjoyed a busy career as a teacher, conductor and organist. As an organist, he has given recitals throughout Europe and in the USA, and as a conductor he has worked with the Bournemouth Symphony Orchestra, the Bournemouth Sinfonietta and the London Mozart Players. David has been Director of Music at Trinity School, Croydon, and Director of Trinity Boys Choir since 2001.
Lydia Teuscher was born in Freiburg, Germany and studied at the Welsh College of Music and Drama and at the Hochschule für Musik in Mannheim. She collaborates regularly with conductors such as René Jacobs, Jonathan Cohen, Emmanuelle Haïm, Sir Roger Norrington, Helmuth Rilling and Markus Stenz and highlights in her 2016/17 season include Susanna Le nozze di Figaro (Staatstheater Karlsruhe and at the Hyogo Performing Arts Center in Japan); Serpetta in Mozart’s La finta giardiniera (Münchner Rundfunkorchester/Andrew Parrott); Schönberg’s Pierrot Lunaire(Ensemble of the Bayerische Staatsoper); Messiah (Orchestre National de Lille/Jan Willem de Vriend); Cantatas by Bach and Handel (Arcangelo/Jonathan Cohen) and Mozart’s Mass in C Minor (Wiener KammerOrchester/Bernard Labadie). Her operatic appearances include Pamina Die Zauberflöte at the Salzburg Mozartwoche, Festival d’Aix-en-Provence, the Bolshoi and at the Bayerische Staatsoper and Deutsche Staatsoper; Susanna Le nozze di Figaro at the Glyndebourne Festival and the Dresden Semperoper; Zerlina Don Giovanni at the Bolshoi and Gretel Hänsel und Gretel for the Glyndebourne Festival, the Dresden Semperoper and Saito Kinen Festival.
William Towers read English at Cambridge University and was a postgraduate scholar at the Royal Academy of Music. He appeared extensively as a soloist in Sir John Eliot Gardiner’s Bach Cantata Pilgrimage and his performances in the complete Bach series have been issued on CD.
His opera engagements have included roles at Royal Opera House Covent Garden, Teatro La Fenice Venice, Glyndebourne Festival, Oper Frankfurt, Göttingen Handel Festival, Gothenburg Opera, Linbury Theatre, La Monnaie Brussels, Aldeburgh Festival, Canadian Opera Company, National Theatre Prague, Teatro Real Madrid, Bregenz Festival, Opera Theatre Company, London Handel Festival and at Grange Park.
His oratorio and recital schedule has featured appearances in many major venues and festivals in the UK and abroad, including the BBC Proms, with distinguished conductors such as Sir Roger Norrington, Paul McCreesh, Richard Hickox, Laurence Cummings Emmanuelle Haïm, Barry Wordsworth, Stephen Layton and Jeffrey Skidmore. Orchestras he has worked with include the City of Birmingham Symphony Orchestra, BBC National Orchestra of Wales, Bournemouth Symphony, Scottish Chamber Orchestra, City of London Sinfonia, Gabrieli Consort and Players, Monteverdi Choir and Orchestra, The Sixteen, Le Concert d’Astrée and Netherlands Bach Society. He has sungOrlando and Belshazzar in the US with Nicholas McGegan and Philharmonia Baroque.
Trinity Boys Choir is famed for its versatility. Up to 100 trebles are coached each week in a variety of groups through a wide-ranging repertoire. Boys continue to sing after the voice change, both alongside the trebles and in dedicated male voice groups. For further details of the choral groups see Tours.
The boys are well known for their role as the Fairies’ chorus in Britten’s A Midsummer Night’s Dream, having appeared in eleven different productions worldwide. The choir is particularly proud to have appeared in the productions of Sir Peter Hall at Glyndebourne and Robert Carsen at the Aix-en-Provence Festival. DVD and CD recordings include A Midsummer Night’s Dream, The Cunning Little Vixen, Billy Budd, L’enfant et les sortilèges and Hänsel und Gretel from Glyndebourne and Carmen and Tosca from the Royal Opera House.
The choir’s repertoire is large and diverse and varies according to the specific choral group. Programmes are tailor made to each event and there is a commitment to presenting new and exciting arrangements and compositions which are distinctive to the choir. The incomparable, virtuosic arrangements of David de Warrenne form an important part of non-religious programmes, as do specially commissioned works from our stable of composers. Works such as Handel’s Messiah and Mozart’s Requiem are frequently performed with orchestra and programmes of sacred music range from the English Renaissance to the most challenging contemporary pieces.
The choir frequently collaborates with the major London orchestras and has appeared on recordings with the BBC Symphony Orchestra and the London Philharmonic Orchestra. Performances at the BBC Proms have included collaborations with the Royal Concertgebouw Orchestra, the Cleveland Orchestra and the Lucerne Festival Orchestra. In 2004 the boys were honoured to perform Monteverdi’s Vespers in the Monteverdi Choir’s 40th anniversary concert in St Mark’s Basilica in Venice. The choir has since toured and recorded Bach’s St Matthew Passion with the Monteverdi Choir and has performed Handel’s Messiah with the Gabrieli Consort. In 2015 the choir was thrilled to be invited by the rock group Queen to mark the 40th anniversary of ‘Bohemian Rhapsody’ with a filmed tribute of the classic rock anthem.
The boys famously featured in Bing Crosby’s final television appearance, his Christmas Show of 1977. Since then the boys have appeared on UK television in the Royal Variety Performance, Children in Need, The Pride of Britain Awards, Good Morning Britain, The One Show, Bring the Noise, and in the 2017 Strictly Come Dancing Christmas Special. Other Christmas specials include with Aled Jones, Bradley Walsh, John Bishop and Michael Bublé. In 2014 the BBC documentary ‘Messiah from the Foundling Hospital’ featured the boys singing alongside the Gabrieli Consort and Players. The choir frequently appears on BBC Radio 2, 3 and 4.
The choir has appeared on numerous film soundtracks and the boys are experienced studio artists.
Kasparas Uinskas is an internationally acclaimed pianist, praised by critics for his virtuosity and romantic style. He has played at the world’s most important concert halls, including New York’s Carnegie Hall, Berlin Philharmonie, London Wigmore Hall, Madrid Auditorio Nacional, and Washington’s J.F. Kennedy Center, where his performances have been received to great acclaim by both the public and critics. He was born in Lithuania, and began studying the piano at the age of six. He studied at the Lithuanian Academy of Music and Theatre, where he graduated his Doctoral studies, the Frédéric Chopin Music University in Warsaw (with professor Bugaij) and The Juilliard School, New York (with the professor Kalichstein) as a recipient of the Vladimir Horowitz Scholarship. Highlights of the current season include his concerts with Royal Chamber Orchestra of Wallonia (Belgium), Lithuanian State Symphony Orchestra, North Czech Philharmonic Orchestra (Czech Republic), Philharmonie Südwestfalen (Germany), Liepaja Symphony Orchestra at Piano Stars Festival (Latvia), Krakow Philharmonic Orchestra (Poland), as well as solo recitals at the Wigmore Hall, the Baerum Kulturhus as part of the Piano Master Series (Norway), the BoZar concert hall in Brussels, the Brussels piano festival, the Festival Nordland Musikkfestuke in Bodø (Norway), and the Fantastic Pianist Series tour in Japan. He also regularly collaborates with other renowned musicians: he is appearing in a chamber recital tour of Norway and Lithuania with the International Tchaikovsky Competition laureate, violinist Nikita Boriso-Glebsky; he is undertaking a piano duo concert tour with pianist Evgeni Bozhanov; and is making a chamber concert tour with one of the world’s greatest cellists, Alexander Kniazev. He is a frequent guest at many international music festivals throughout Europe and the USA, including the Aspen Music Festival, the Music Festival of the Hamptons, the South Shore Music, and Holland Music Sessions. He has also appeared as a soloist at the Verbier Festival as recipient of the Reuter’s Grand Prix, awarded by the festival. He is a frequent guest on the Radio and TV programs, including BBC Radio 3, The New York Times classical music radio station, WQXR, and Lithuanian National Television and Radio. In 2010 he became an artistic director of the New Musical Generation summer festival and academy. He regular teaches students in masterclasses and, alongside his concert career, participates in outreach programs to promote classical music for the youth. Since 2006 he has run a classical music educational program in Lithuanian high schools, presenting live classical music to young people.
Pilar Vázquez, mezzo-soprano, was born in León (Spain) and studied in Madrid. She has performed as a soloist with conductors including Víctor Pablo Pérez, Josep Pons, Antoni Ros Marbá, Thomas Neuhold and Sir Neville Marriner. She performs regularly at all the major theatres in Spain (including Teatro Real in Madrid, Liceo in Barcelona and Les Arts in Valencia) as well as many theatres and festivals abroad (including Capitole in Toulouse and Maggio Musicale Fiorentino). A recognised Wagnerian mezzo-soprano, Pilar has performed the roles of Waltraute (Die Walküre) and Second Norna (Götterdämmerung) in a Spanish-Italian co-production, artistically directed by Zubin Mehta and staged by La Fura dels Baus. She made her debut as Waltraute (Götterdämmerung) with the Orquesta Sinfónica de Galicia and as Flosshilde (Rheingold) in Oviedo.
Harriet Walter trained at LAMDA and has worked extensively in theatre, television, film and radio. Most recently she was Livia in Women Beware Women at the Olivier NT. She is an associate artist with the RSC, where she played Cleopatra in Antony and Cleopatra alongside Patrick Stewart, Beatrice in Much Ado About Nothing, Lady Macbeth opposite Anthony Sher, The Duchess of Malfi, All’s Well That Ends Well (with Peggy Ashcroft) Twelfth Night and Three Sisters (winning an Olivier award for the last two). Harriet played Elizabeth Ist in Mary Stuart (Donmar, West End) for which she won the Evening Standard Award and was nominated for a Tony Award for the Broadway transfer. Earlier theatre credits include Dinner, The Children’s Hour and Arcadia all at the NT and Three Birds Alighting on a Field, Cloud Nine, Hamlet and The Seagull all at the Royal Court.
Film credits include The Young Victoria (Queen Adelaide) Atonement, Bright Young Things, Sense and Sensibility and Louis Malle’s Milou et Mai.
She has published three books: Other People’s Shoes and Macbeth for the Faber series ‘Actors on Shakespeare’ & Facing It.
She was appointed a CBE in 2000 and DBE in the Honours List 2011
Lauded for his luminous projection, lyrical sensitivity, and brilliant coloratura, American-born Canadian tenor Lawrence Wiliford is in high demand in concert, opera, and recital repertoire ranging from works by Monteverdi to contemporary composers. Critics have acclaimed him as an “amazing tenor” (Vancouver Sun) having “exceptional power throughout his range” (Boston Globe), with a “vivid response to each line of word and music” (Philadelphia Inquirer) and as a “phenomenal” and “matchless artist” (Globe & Mail).
Mr. Wiliford has collaborated with conductors such as Jane Glover, Matthew Halls, Grant Llewellyn, Nicholas McGegan, John Nelson, Yannick Nézet-Séguin, Peter Oundijan, Trevor Pinnock, Helmuth Rilling, Nathalie Stutzmann and Pinchas Zukerman. His diverse opera credits include Mozart’s Così fan tutte, Don Giovanni, and Die Entführung aus dem Serail; Britten’s A Midsummer Night’s Dream, Albert Herring and The Turn of the Screw; Lully’s Persée and Rameau’s Pygmalion and La Guirlande. Mr. Wiliford has been involved in a number of world premiere performances featuring works by Benjamin Britten, Derek Holman, James Rolfe, John Greer, Marjan Mozetich, Norbert Palej, Erik Ross and Zachary Wadsworth. His recorded projects appear on the ATMA Classique, Bridge Records, Centrediscs and NAXOS labels and include J.S. Bach’s Johannes-Passion under the direction of Alex Weimann; Divine Musick: The Late Works for Tenor and Harp by Benjamin Britten and Ash Roses, songs by Canadian composer Derek Holman.
In addition to his performing schedule, Mr. Wiliford is co-founder and co-artistic director of Canadian Art Song Project with pianist Steven Philcox.
Michelle studied at the Royal Northern College of Music and at the National Opera Studio winning the prestigious Maggie Teyte Prize.
She made her critically acclaimed soprano debut as Fiorilla in Rossini’s Il Turco in Italia for the Buxton Festival. She made her English National Opera debut singing the role of Countess Almaviva in Mozart’s Le nozze di Figaro, following which she sang the title role in John Copley’s production of Lehar’s The Merry Widow and Mimi in Jonathan Miller’s production of La Boheme. Michelle covered the title role of Madam Butterfly in Anthony Minghella’s production also for E.N.O. She recently sang the role of Anna in Donizetti’s Maria Stuarda for Opera North and Liu in Puccini’s Turandot for Welsh National Opera for whom she will sing Mimi in Annabel Arden’s La Boheme this autumn.
Other roles include Pannochka in Rimsky-Korsakov’s Maiskaya Noch (Garsington Opera), Giulietta in Verdi’s Un giorno di regno (Buxton Festival), Zerlina in Mozart’s Don Giovanni (Garsington Opera), Ramiro in Mozart’s La finta giardiniera (Garsington Opera) and Ascanius in Berlioz’s Les Troyens (Edinburgh International Festival).
As a mezzo-soprano she was a company principal at Scottish Opera and also worked for Glyndebourne, Buxton Festival, Garsington Opera, Opera Holland Park, English Touring Opera, Raymond Gubbay, Lille and Opéra Comique Paris in roles such as Rosina, Cherubino, Dorabella, Annio and Hermia.
In concert she has performed with the Birmingham Royal Ballet, the Orchestra of St John’s Smith Square, the Sorbonne Paris, the Britten Sinfonia, the Hallé Orchestra, the Northern Sinfonia, the Orchestra of Opera North, the Tibor Varga Sion Festival Switzerland, the Manchester Camerata, the Royal Philharmonic Concert Orchestra and the Orchestra of Welsh National Opera.
Richard Watkins has become one of the most sought-after horn players of his generation and is well-known as a concerto soloist and chamber music player. He was Principal Horn of the Philharmonia Orchestra from 1985 until 1996, and is currently a member of the Nash Ensemble and a founder member of London Winds and the Transatlantic Horn Quartet.
He has appeared at many of the world’s most prestigious venues in the UK, Europe and the USA, and has worked with conductors such as Giulini, Sawallisch, Salonen, Slatkin, Sinopoli, Rozhdestvensky, Andrew Davis and Mark Elder.
Richard Watkins is closely associated with promoting contemporary music for the horn. He has given premieres of concertos by Maxwell Davies, Osborne, Lindberg, Muldowney, Lefanu, and Colin and David Matthews. Recent premieres include Bleak Moments by Mark Anthony Turnage for horn and string quartet, Colin Matthews’s Time stands still for horn violin and piano, a performance of Colin Matthews’ Horn Concerto at the 2006 BBC Proms, and a horn quintet by James MacMillan which was premiered at the 2007 Cheltenham International Festival.
Hugh Webb studied with Renata Scheffel-Stein, Sioned Williams and Susan Drake. He has worked extensively in the contemporary music field and Javier Alvarez, Robert Keely and Ian Dearden have all written solo works for him with funding from the Arts Council of England. Recent CD recordings include Bax’s Concerto for Flute, Oboe, Harp and String Quartet with the Academy of St Martin’s Chamber Ensemble (Chandos), a collection of French music for flute and harp, Villa Lobos’ Quartet (Clarinet Classics) and Bax’s Fantasy Sonata (Koch International). He gave the first performance of Cyril Scott’s Celtic Rhapsody as part of Sidonie Goossens’ 100th Birthday Celebrations at the Wigmore Hall.
Katja completed her Bachelor of Science with a Diploma of Modern Languages in German in 2001 and her Advanced Diploma of Performing Arts in Classical Voice at the West AustralianAcademy of Performing Arts in 2004.
While completing her first degree, she played principal roles in many theatrical performances around Perth, including Cosette in ‘Les Miserables’, Lily Craven in ‘The Secret Garden’, Eliza Doolittle in ‘My Fair Lady’, as well as Julia in ‘The Grand Duke’, Aline in ‘The Sorcerer’ and Princess Zara in ‘Utopia Ltd.’ with the Gilbert and Sullivan Society. Katja has also appeared as Proserpina in the Academy’s production of Monteverdi’s ‘L’Orfeo’, Anna Maurrant in Weill’s ‘Street Scene’ and Cunegonde in Bernstein’s ‘Candide’, as well as singing excerpts from Donizetti’s ‘Don Pasquale’ , Tchaikovsky’s ‘Eugene Onegin’ and Verdi’s ‘Rigoletto’ and ‘Falstaff’. Katja is one of the West Australian Opera Company’s Emerging Artists for 2006, and made her debut singing the role of the First Sprite in ‘The Magic Flute’. She has also sung in the chorus of Mills’ ‘ Batavia ’, Gounod’s ‘Faust’, Bellini’s ‘Norma’, Mozart’s ‘Don Giovanni’, Bizet’s ‘Carmen’ and Verdi’s ‘Nabucco’.
Earlier this year, Katja was thrilled to be able to sing a duet with Dame Kiri Te Kanawa during her Perth concerts. Katja also came second in the 2006 New York Study Award and was a finalist in the German Operatic Award and Barilla Italian Opera Award.
As a soloist, Katja has sung with choirs in Perth and in Germany , as well as performing recitals for the West Australian Lieder Society and The Society of WA Opera Lovers . Her repertoire includes Faure’s ‘Requiem’, Bach’s ‘Magnificat in D’, ‘Christmas Oratorio’ and ‘Mass in F’, Vivaldi’s ‘Dixit Dominus’ and ‘Gloria’, Handel’s ‘Messiah’ and ‘Acis and Galatea’, Mozart’s ‘Requiem’, ‘Coronation Mass’ and ‘Exsultate, Jubilate’, Hadyn’s ‘Nelson Mass’, Dvořák’s ‘Mass in D’ and Rossini’s ‘Petite Messe Solenelle’.
Andrew West accompanies many of Britain’s leading singers, and is Artistic Director of the Nuremberg Chamber Music Festival, now in its fifteenth year. He and Robert Murray have appeared together at major British festivals such as Aldeburgh and Oxford Lieder, as well as in France and Germany. He has particularly long-established partnerships with Mark Padmore (concerts at Wigmore Hall, Vienna Konzerthaus, Lincoln Center New York) and flautist Emily Beynon (Edinburgh Festival, Amsterdam Concertgebouw, BBC Proms). His keen interest in contemporary music has led to world premiere performances of song-cycles by Alexander Goehr (with Roderick Williams), Thomas Larcher and Harrison Birtwistle (both with Mark Padmore). Recordings include flute works by Les Six with Emily Beynon (Hyperion); Strauss Lieder with Emma Bell (Linn); and Parry songs with James Gilchrist, Susan Gritton and Roderick Williams (Somm). He has made solo recital tours to South Africa, South America and the United States. His 2016 diary includes a return visit to the Australian Festival of Chamber Music, followed by further concerts in Melbourne and at Sydney Opera House; and a Schubert recital with Mark Padmore at the Library of Congress in Washington DC. Andrew West studied with Christopher Elton and John Streets at the Royal Academy of Music, where he is now a professor.
David Wickham is one of Australia’s pre-eminent accompanists, and a lecturer at the Western Australian Academy of Performing Arts. He was a member of the music staff of the Australian Opera Studio from 2003 to 2006, where he was music director for productions of Julius Caesar, Don Quichotte, Carmen, Così fan Tutte, Rodelinda, Manon, Bastien and Bastienna and Trouble in Tahiti, as well as Elijah and three cabarets.
“David Wickham led from the front with a superb display of musicianship, playing the orchestral reduction with extraordinary flair and directing at the same time. He provided the bounce and rhythmic lift which permeated the entire production,” wrote Opera Opera of Così fan Tutte. Opera Opera also described him as “one of the finest exponents of keyboard skill when dealing with orchestral transcriptions”.
Before emigrating to Perth in 2003 he was resident in London. He has broadcast several recitals for ABC Classic FM, BBC Radio 3 and UK Classic FM. The Australian Opera Studio’s 2005 cabaret, of which David was music director, won an award for the best live broadcast in the ABC’s Sunday Live series.
As a repetiteur David worked for English National Opera, Welsh National Opera and Scottish Opera, also spending nine seasons with Garsington Opera. He has also worked on several productions for West Australian Opera, including Richard Mills’ award-winning The Love of the Nightingale, described in the press as “the operatic event of the year.”
David conducted Mikado for West Australian Opera, and for WAAPA he has conducted Dialogues of the Carmelites, English Eccentrics, Candide and A Midsummer Night’s Dream (“David Wickham did wonders from the podium”). He is much in demand as an accompanist, and has partnered Sara Macliver in several recitals. The West Australian, reviewing a performance of Grieg songs with Macliver, described David as “a musician whose fingers knew no fears, and who could shape even the subtlest nuances of the vocal line.” In recital with Aivale Cole at Government House in Perth, “Wickham’s pianism was exceptional throughout; his solo in Come Rain or Come Shine one of the highlights.” 2009 also saw a New Zealand tour with Aivale Cole, performing in all the major cities.
Roderick Williams encompasses a wide repertoire, from baroque to contemporary music, in the opera house, on the concert platform and in recital.
He works regularly with the major British Opera companies, and is particularly associated with the baritone roles of Mozart. Abroad he has worked for Netherlands Opera and Florida Grand Opera. He has sung world premieres of operas by, among others, David Sawer, Sally Beamish, Michael van der Aa, Robert Saxton and Alexander Knaifel.
He has worked with orchestras throughout Europe, including all the BBC orchestras in the UK, and his many festival appearances include the BBC Proms, Edinburgh, Cheltenham and Aldeburgh.
Recent and future engagements include Count/Le nozze di Figaro for Scottish Opera, Ned Keene/Peter Grimes for ROH, Goryanchikov/From the House of the Dead for Opera North, Oronte in Medée, Pollux in Rameau’s Castor and Pollux and Toby Kramer in Van der Aa’s Sunken Garden for English National Opera, Van der Aa’s After Life at Melbourne State Theatre, as well as concerts with Le Concert Spirituel, Royal Liverpool Philharmonic Orchestra, Manchester Camerata, BBC National Orchestra of Wales, Royal Scottish National Orchestra, the Hallé, Britten Sinfonia, City of London Sinfonia, King’s College Cambridge, the Ensemble Orchestral de Paris, Rias Kammerchor, Orquesta Sinfonica de Euskadi, Netherlands Radio Philharmonic, Danish National Radio Symphony Orchestra, Bach Collegium Japan, Pax Christi Chorale in Toronto, The Sixteen, The King’s Consort, London Philharmonic Orchestra as well as Delius’ Cynara with the BBC Philharmonic Orchestra at the 2012 BBC Proms, the Britten War Requiem with the Maggio Musicale and Semyon Bychkov in Florence and the UK premiere of Jonathan Harvey’s Wagner Dream with BBC Symphony Orchestra.
He is an accomplished recital artist who can be heard at venues and festivals including the Wigmore Hall, the Perth Concert Hall, Howard Assembly Room, the Musikverein, Vienna and on Radio 3.+
He has an extensive discography and his recordings of English song with Iain Burnside have received particular acclaim. His recording of Schumann’s Kernerlieder with Helmut Deutsch has recently been released on Wigmore Hall Live. He is also a composer and has had works premiered at the Wigmore and Barbican Halls, the Purcell Room and live on national radio
Sioned Williams is an international soloist and Principal Harpist of the BBCSO. She has appeared in recital with the Brodsky Quartet, William Bennett, Michael Chance, Michael Cox, Paul Edmund-Davies, Martyn Hill, Garfield Jackson, Steven Isserlis, Neil Mackie, Lisa Milne, Aurèle Nicolet, Mark Padmore and Andrew Watts. Sioned also performs with the BBC Singers, Cantamus, Tenebrae and other choirs. Many of Sioned’s commercial recordings on Chandos, Collins Classics, EMI Classics, Guild Records, Hyperion and Meridian have received international awards; she has partnered James Galway, the Holst Singers, Lisa Milne, Anthony Rolfe-Johnson, Frederica von Stade, the Choir of Kings College Cambridge, The Sixteen, Westminster Cathedral Choir, Winchester Quiristers, Oxford Voices and the Brodsky Quartet on disc. Sioned is renowned for her research on harp music from many eras; she is equally passionate about commissioning and premiering new works for harp solo, concerto and chamber music, resulting in creative presentations with words, poetry and film. Highly acclaimed as an educator, she regularly gives masterclasses and illustrated lectures, appears on selection and examination boards and edits and contributes critical editions, articles and reviews. Sioned is President of the UK Harp Association, and Emeritus Fellow of Harp Studies, Trinity Laban Conservatoire of Music and Dance.