Congratulations on winning the Royal Over-Seas League Strings Prize! What does this success mean to you?
It felt so wonderful! We all work so hard and pour so much of ourselves into our craft, and it is a fantastic honour to have ROSL’s name behind me. It really puts my name on the map and makes people want to find out more about me.
Winning the ROSL Strings Prize has already led to fantastic concerto and festival offers, and I am hugely excited to make my Queen Elizabeth Hall debut later in the year. Performing at such a prestigious venue is a brilliant opportunity to invite agents and promoters to come and hear me. In addition to these big gestures, ROSL has been a fantastic support during the Coronavirus crisis.
I understand that you were the recipient of a scholarship at the Academy. What impact did this have on your studies?
Removing the financial burden of paying fees gave me the freedom to make the most of every moment of my studies, and to take the opportunities that were the most exciting and enriching to me. During my studies, I founded London Chamber Soloists, an unconducted string orchestra, and was leader-director of Aldwych Sinfonia for several years. I was able to pursue my passion for directing chamber orchestras, bringing the same creativity I prioritise in solo playing to crafting orchestral soundscapes and interpretations, while being constantly inspired by the musicians I was playing with.
What influence do you think studying at the Academy has had on your career so far?
The Academy has an outstanding reputation worldwide, and people instantly respect the quality of training we have had wherever we go. I had a wonderful peer group at the Academy and it is so uplifting to see talented musicians I studied with making waves across the music world and to be able to continue collaborating with these outstanding musicians.
One of my best experiences at the Academy was working with Oliver Knussen to record Stravinsky’s L’histoire du soldat for Linn Records, produced by Jonathan Freeman-Attwood, the Academy’s Principal. Having the opportunity to make a professional recording while still studying was a huge honour, and I was lucky to go into the profession having already had a wonderful recording experience, and to feel confident, comfortable and enthusiastic in what could be a very nerve-racking environment, as the recording process is so different from live recording.
Tell us a little about your professional life since leaving the Academy.
A couple of months after graduating, I was offered a contract to lead the English Touring Opera in several performances across the country, and to play as co-leader during the rest of the season. It was completely thrilling to be able to influence the direction of the music and share ideas spontaneously with our brilliant soloists, conductors and fellow musicians.
Prior to this, I had been building up a large amount of recital work, both at home and abroad, with outstanding pianists Emil Duncumb and Aleksandra Myslek (both Academy alumni), and with my period and modern instrument chamber group, Pocket Sinfonia.
Some highlights have been performances at the Royal Albert Hall Elgar Room, Brighton Early Music Festival and St. Martin-in-the-Fields, being a concerto soloist with the brilliantly innovative Multi-Story Orchestra, BBC Radio 3 broadcasts, and recitals in venues across Norway, Sweden and Italy.
What does the future hold for you?
I’m looking forward to making my Queen Elizabeth Hall debut, playing in the Oslo Chamber Music Festival, directing Sinfonietta Innlandet and leading Ringsaker Opera this year (Coronavirus permitting).