What inspired you to pursue a career in music?
My parents aren’t professional musicians, but they are very musical - my father was a sound engineer at Radio 3 - and they instilled in me a love for music. I didn’t attend a specialist music school. However, I was fortunate to be a member of the ambitious and successful Thames Youth Orchestra (TYO), which was pivotal in my early development.
A turning point came when I visited the Academy for a Brass Open Day in 2010. I’d never visited a conservatoire before, and I was blown away. They put on a symphonic brass concert, and it was one of the most inspiring performances I had ever seen. Although I didn’t know him at the time, my future husband was playing in that concert!
Afterwards, I had a consultation lesson with James Watson, the Head of Brass at the time. He was incredibly encouraging and welcoming. Very sadly, Jim died soon after my audition, so I never had the chance to study with him, but he played a huge role in inspiring me to study at the Academy.
How did your Academy training help you prepare for your career?
When I arrived at the Academy, I dreamt of being a soloist, inspired by Alison Balsom. I was fortunate to receive great solo opportunities, but through various orchestral projects at the Academy, I realised how much I also loved being part of an ensemble. My first professional experience came during my third year when Mark David (Head of Brass and my main teacher) invited me to work with his orchestra, the Academy of St Martin in the Fields.
A particular highlight from my time at the Academy was a concert I organised during my final year. I gave the London premiere of Stephen Dodgson’s Trumpet Concerto, written for me a few years earlier and commissioned by TYO. I had to organise every aspect of the concert in the Duke’s Hall, from fixing the orchestra, to stage planning, advertising the concert and making the programmes, as well as being the soloist. This experience gave me a taste for curating my own projects and is something I’ve continued to do ever since.
Can we hear more about your career path from leaving the Academy to becoming Principal Trumpet at Britten Sinfonia?
After the Academy, I had originally planned to do a postgrad in Germany but, when that fell through, I decided to stay in London and successfully applied to join Southbank Sinfonia (now Sinfonia Smith Square).
I was also given the fantastic opportunity to use some of the postgrad funding I'd been given to study privately in Oslo with renowned soloist Tine Thing Helseth. Over the next few years, I balanced orchestral freelancing with solo performances and auditions. I had some success early on, securing trials with the Royal Philharmonic Orchestra, English National Opera and Opera North.
I was also proactive in going to play to people and was given opportunities by generous teachers and colleagues. A notable example is when I attended a Prom by Aurora Orchestra in 2016. Afterwards I reached out to their Principal Trumpet, Simon Cox, who invited me to play duets and subsequently added me to his extra list. This led to me working regularly with the orchestra over the next few years, including a career highlight of playing Principal Trumpet for their memorised performances of Stravinsky’s The Rite of Spring at the Proms.
In 2021, I started working with Britten Sinfonia, and one of my first projects was Handel’s Messiah. I decided to memorise the obbligato part in ‘The Trumpet Shall Sound’, which I think may have caught their attention. Two years later, when their Principal Trumpet position became vacant, I was offered the job.
What advice would you give to a young musician hoping to follow a similar career path to yours?
Aim to be the most well-rounded musician you can be. Attend live concerts, listen to all different types music and look for ways to collaborate with other musicians. I am constantly taking inspiration from other artists’ programming and performances.
When you're starting out, be open to as many different opportunities and types of work as possible, as they can lead to unexpected and valuable experiences. Of course, as you progress, you become more selective about where you invest your time and energy, but in the earlier stages, say ‘yes’ whenever you can and build your connections.
Be adaptable and allow your ambitions to evolve. I was once set on being a soloist, but over time I realised that I enjoy the camaraderie of playing in an ensemble. Being part of one which is not full-time gives me the flexibility to pursue my solo interests.
What are you looking forward to in the coming months?
I have several exciting things coming up. I’ve just released my debut solo album, recorded alongside Britten Sinfonia and pianist Jennifer Walsh, and it’s something I’m really proud of. The album is a collection of eight pieces which are each significant to me and have almost all been written or arranged especially for me. To officially launch the album, I’ll be performing a concert at St Martin-in-the-Fields at 4pm on Tuesday 6 May with the album’s five living composers in attendance. The concert will be presented by Linton Stephens and he’ll do a mini Q&A with the composers before I perform their pieces.
Later this month, I’ll be performing the Hummel Trumpet Concerto with Britten Sinfonia, celebrating my appointment as Principal Trumpet. The performances will take place in Norwich Cathedral and Saffron Hall.
In June, I’ll be giving a trumpet and piano recital for the Proms at St. Jude’s, and later in the summer I’m looking forward to playing with the London Symphony Orchestra at the Proms. Following that, I’ll embark on a tour with the LSO to Europe and Vietnam. So, there’s lots to look forward to and prepare for!