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Royal Academy Opera 

Director of Opera
Professor Jane Glover CBE, MA, DPhil, Hon FRCM

Associate Director of Opera
Glenville Hargreaves BMus, Hon ARAM, GRSM, ARMCM, FRSA

Royal Academy Opera Administrator: Felicity Jackson
Telephone: 020 7873 7383 / Email opera@ram.ac.uk

 
 
 
 

'The Academy cast was packed with promise... Jane Glover, the Academy's new director of opera, both practitioner and scholar, has talented singers to work with, and things to do.'

Opera, July 2009

 

Open day: Thursday 23 September
From 10.00am, Henry Wood Room
Free, no pre-booking required. Simply turn up on the day.


The Course
Royal Academy Opera is a specialist and intensive postgraduate MA 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, Sir Charles Mackerras and Trevor Pinnock. Distinguished visiting directors have recently 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 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 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.

Training for repetiteurs and coaches
Royal Academy Opera also offers opportunities for pianists wanting to specialise as repetiteurs and coaches.  Chosen students will work in a wide variety of repertoire (the immediate future covers all eras from the 17th to the 21st centuries), in many languages, and with distinguished conductors and directors. (Plans include guest conductors Sir Charles Mackerras,  Sir Colin Davis, Trevor Pinnock, Yan Pascal Tortelier, and guest directors John Copley, Simon Callow and David Pountney).  In addition to playing rehearsals for productions and Scenes presentations, Royal Academy Opera’s repetiteurs will have continuing piano lessons, individual sessions with the Royal Academy Opera’s staff 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 course, although in exceptional circumstances, it may be completed in one year.

 

'Most of the cast were stars pretty-much already-made... This was at the same time a true ensemble performance which could transfer to any professional house with immediate ease.' Gramophone, May 2009

'I saw the first and almost wholly excellent cast, with the two children cast more plausibly than I have ever seen them before... Both their singing and acting were ideal, worthy of DVD-ing, our version of immortality. The casting was strong throughout... a fine evening, with Sian Edwards conducting with deep insight.' The Spectator, November 2008





 







 

 
 
 

University of London