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Royal Academy Opera (Continued)

Anthony Legge MA, Hon RAM

(Picture: Photo of Anthony Legge)

Has worked with all the major British opera companies including Glyndebourne, and also in Amsterdam, Brussels, Gothenburg, Opera Australia and at Bayreuth, working on the Barenboim/Kupfer Ring and Die Meistersinger. Recently appeared in the highly-acclaimed ‘Operatunity’ on Channel 4, and works regularly for the BBC. Music Advisor at English National Opera, where he conducted many performances during fourteen years as Head of Music. A frequent judge for major singing awards and a Reader for the Queen’s Anniversary Prize, he regularly gives master-classes and is the author of ‘The Art of Auditioning’ (Peters Edition). Director of Opera since 2003.

The Course

Royal Academy Opera is a specialist and intensive Postgraduate Diploma course 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 bodywork and movement, stage technique, the mainstream 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 and Sir Charles Mackerras.

Since 2001, distinguished visiting directors have included John Copley, Ian Judge, Anna Sweeny, Robert Chevara and Jo Davies. 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 roles in-depth through individual music and language coaching. Excerpts from operas are presented in a series of tableaux. 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 considered to be 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.

Recent Highlights

Productions at the Academy of Rameau’s Dardanus, a double-bill of Tchaikovsky’s Iolanta and Puccini’s Gianni Schicchi, JudithWeir’s A Night at the Chinese Opera, Mozart’s La finta giardiniera and Massenet’s Cendrillon.
Live concert recordings released on the Academy’s own label ofThe Magic Flute with Sir Colin Davis and The Cunning LittleVixen with Sir Charles Mackerras.
Richard Lewis/Jean Shanks Award for postgraduate singers.
Patric Schmidt Opera Rara Bel Canto Prize

Your Audition (see p.56 for general details)

Opera auditions take place in London only. Please see www.ram.ac.uk/vocalauditions for detailed guidance. 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 Programme with a view to re-auditioning for Royal Academy Opera in the following year.

The Teachers

Visiting Professors
John Mark Ainsley Hon RAM
Barbara Bonney Hon RAM
Chevalier José Cura
Valerie Masterson CBE, Hon RAM
Dennis O’Neill CBE, DMus
Robert Tear CBE, MA, Hon RAM, FRCM, FRSA

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

Principal Operatic Coaches
Mary Hill MA, Hon ARAM, LRAM, ARCM (Co-ordinator of preparatory opera; Director, Abbey Opera
and formerly Glyndebourne Festival Opera)

Ingrid Surgenor MBE, FRAM, FWCMD, GRSM (Welsh National Opera, Bayreuth Festival, former official
accompanist for Cardiff Singer of the World)

Singing Professors, Vocal Repertoire Coaches and Song Classes and Language Professors are listed under Vocal Studies.

Opera Role Coaches and Music Staff
Laurence Cummings MA, Hon RAM, ARCM, FRCO (Head of Historical Performance)
David Drummond BMus
Gareth Hancock MA, ARAM, ARCM (Glyndebourne Festival Opera)
Audrey Hyland BA (English Touring Opera; Britten-Pears School)
Iain Ledingham MA, FRAM, FRCO
Jonathan Papp ARAM, GRSM (Royal Opera House Covent Garden, Britten-Pears School)
Michael Pollock (Welsh National Opera)
Peter Robinson (Opera Australia; Artistic Director, British Youth Opera)
DominicWheeler BA, ARCO, ARCM (English National Opera, Opera North, Glyndebourne Festival Opera)

‘It’s hard to know whether to classify this as a student performance, especially when the general standard is so high. What is certain is the evidence of the standards of preparation and coaching that prevailed and of the time devoted to the opera… the Academy is delivering what it sets out to deliver.’
Opera, February 2005
(The Magic Flute with Sir Colin Davis)