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We are home to a successful and talented symphony orchestra formed from students, staff and members of the local community, and led by our Director of Conducting Russell Keable. The ¿Û¿Û´«Ã½ Orchestra gives three major concerts each year, either on campus or in external venues such as Holy Trinity Church in the centre of Guildford. Members of the orchestra will have the opportunity to work on a wide range of classical music (including film and TV scores). Over past years this has include ballets by Stravinsky, Tchaikovsky and Massenet; film scores by Danny Elfman and John Williams; and symphonies by Beethoven, Brahms, Dvorak, Sibelius, and Shostakovich. The orchestra is a friendly and welcoming group that meets most Monday evenings (from 7pm to 9pm) during semester; occasional social events also provide an opportunity for all members to meet outside of rehearsals.  Auditions are held at the start of the academic year for students from all programmes; joining the orchestra during the course of the year is also possible (please contact r.keable@surrey.ac.uk). Players are generally expected to have reached Grade 7 or above on their instrument.

The University Choir, led by , is a lively and fun choir open to all University students and staff from all subjects. A basic level of sight-reading, an ability to hold a tune and general enthusiasm is all we ask for! No audition is required. We rehearse every Wednesday evening from 7:30pm to 9pm in PATS building, and perform several times a year at Holy Trinity Church and other venues. We have performed with the University Orchestra on a range of challenging works including Brahms’s Ein Deutsches Requiem, Orff’s Carmina Burana, Bernstein’s Chichester Psalms, and choruses from Handel’s Messiah and Vivaldi’s Gloria. This year we are preparing two concerts with orchestra plus some choir only items (December and March/April).

The University Chamber Choir, conducted by , is open to all students via a short, friendly audition. We rehearse every Wedesday evenings during semester (including January assessment period, and following the Spring vacation), 5:30-7pm. The expectation is that Chamber Choir singers will stay on to University Choir to help them out as well, and rehearses on the same evening. The chamber choir performs challenging repertoire, mainly unaccompanied and often contemporary, including soloists. The group performs at a wide range of events throughout the year, both on and off campus, including the highly regarded University Carol Service at Guildford Cathedral.

¿Û¿Û´«Ã½ Big Band Big Band are ¿Û¿Û´«Ã½â€™s award-winning premier jazz ensemble. They are a professional calibre 21-piece big band comprising saxes, trombones, trumpets, rhythm and two vocalists. The varied repertoire includes a diverse range of genres such as swing, Latin, samba and funk, making live shows hugely atmospheric and entertaining. 

They audition for members annually to form a first-class band of students from various programmes and schools which rehearses weekly on Tuesday evenings to prepare for functions taking place both within ¿Û¿Û´«Ã½ and externally. They participate in competitions, perform at sell-out headline gigs and hold an exciting annual tour. Members benefit from regular social events to which friends of the band are always welcome.

It doesn’t matter what subject you study at ¿Û¿Û´«Ã½; the ¿Û¿Û´«Ã½ String Orchestra is open to everyone who plays a string instrument, and requires no audition. We pride ourselves on our social ethos and a broad repertoire, primarily performing in music department ensemble concerts, recording sessions and concerts in Guildford. 

In the past we have performed film scores, arrangements and pop songs in addition to the standard classical repertoire. We work closely with student conductors, soloists and composers, offering a platform for new compositions to be performed. 

Rehearsals are on Thursday evenings between 6 and 8pm in Teaching Block.

The University Jazz Orchestra is an open and welcoming student-led group playing all types of jazz music in a relaxed setting from Sing! Sing! Sing! to Chameleon and Reptile. They are always open to song suggestions as well as student compositions and arrangements. Rehearsals are held on Thursday evenings from 7pm to 9pm, with a break halfway through so that you have plenty of time to mingle with the rest of the band. No audition is required; just come along!

The Wind Band is a great way for keen musicians to perform as part of a wind ensemble. We are open to anyone who plays a woodwind or brass instrument as well as percussionists who want to play a variety of pieces including film and musical medleys. Our aim is to perform in multiple concerts throughout the year. 

We do not hold auditions and our memberships are free so please just come along and get involved.

Our rehearsals are every Tuesday in 02 DK 02 from 6:30pm-8:30pm. 

The USSU Musical Theatre Society is a chance to express your love of performing no matter your experience level. We perform two showcases per year- one in the autumn and one in the summer and we do a main show with costumes, lights and an entire live band in early March. This year, our main show is Footloose! Our regular rehearsal times are Monday and Thursday from 6-10pm with occasional Sunday rehearsals in the lead up to showcases and the main show. 

We welcome all abilities because at the end of the day, we’re all there to have a good time which is reflected in how well our members get along. By holding regular socials outside of rehearsal time, we nurture these friendships and create a space where people feel included no matter what. 

Please reach out to us on Instagram or email if you’re interested in joining!

Instagram: @ussu_mtsoc

Email: ussu.musicaltheatre@surrey.ac.uk

The Music and Images project gathered a group of first-year students, which all played instruments not traditionally be included in the same ensemble: electric guitar, electric bass, piano, lever harp, bassoon and voice. Through rehearsals we made a series of orchestrations for compositions of our choice, and practiced the concert and workshop delivery. We visited two schools in our area (Sandfield and Stoughton) and delivered a workshop and a concert for Year 2 children.  The students introduced their instruments to pupils, and announced the pieces they played. The pupils in both schools drew while the group played, and joined in the discussion about how music made them feel and why. The children reacted really positively and were interested in the music delivered. They happily talked about their feelings and how they hear the music. 

Have you ever wondered about how musical instruments make sounds? Or why some sounds are high and others are low?  Join Head of Music and Media Chris Wiley and physicist Alexia Beale – who both play lots of instruments – and find out! In this 45-minute interactive session for school pupils aged 7 to 11, we’ll explore a range of instruments with strings and instruments you blow down, as well as those you hit with a stick. The event is targeted at Key Stage 2 (ages 7-11), but may be suitable for others as well. Audience participation is more than welcome! 

In this talk, Dr Christopher Wiley () explores some of the many connections between music and space. First, he discusses famous examples of people who have been interested in both space and music, including several contemporaries as well as Gustav Holst (The Planets), William Herschel (discovered Uranus), and Johannes Kepler (the music of the spheres). Second, he looks at some of the music that has been sent to and from space, both recent broadcasts (live and recorded) as well as the contents of Voyager’s Golden Records. Finally, he investigates composers’ representations of space through some of the most recognisable musical themes in the history of film and television, including Star Wars, Star Trek, and Doctor Who. In the course of this talk, he will perform music by Herschel and demonstrate the theremin, an electronic musical instrument commonly associated with the creation of otherworldly sounds.

Hosted by the ¿Û¿Û´«Ã½ at Guildford United Reformed Church as part of the Being Human Festival 2025, this intergenerational concert featured a 46-piece orchestra comprising students, alumni, and special guests from the surrounding area, together with ¿Û¿Û´«Ã½ Brass Ensemble and the student-led vocal group Vox Hominum. It explored how music creates meaning and connections beyond words, and across generations, by presenting an event for the whole family framed around performances of five works by ¿Û¿Û´«Ã½-based composer Dame Ethel Smyth, including two UK premieres. Completing the programme were arrangements of music from Jurassic Park, James Bond, and ABBA, as well as a new piece, Scenes from ‘Imoinda’, composed and conducted by our Honorary ¿Û¿Û´«Ã½ing Professor , featuring professional soloists Donna Bateman (soprano) and Sandeep Gurrapadi (tenor). A series of short talks introduced the pieces presented and their relationship to the research and teaching undertaken at the University, as well as the instruments on which they were performed. Audience members also had the opportunity to try out selected instruments for themselves during the interval, facilitated by our Music Hub partner, ¿Û¿Û´«Ã½ Arts. Further information: Beyond Words: ¿Û¿Û´«Ã½ hosts packed concert blending music and research | ¿Û¿Û´«Ã½

In Autumn and Spring, we run ‘Orchestra Day’ where the University Orchestra invites local musicians and the general public to campus to join students in rehearsing a piece of music in just one day and giving an informal performance at the end. Past repertoire has included Stravinsky’s The Rite of Spring, a programme of Bernstein classics, Prokofiev’s Romeo and Juliet, film and TV music including The Thunderbirds March and the Star Warstheme, and Vaughan Williams’s A London Symphony. 

Our next orchestra day will be held on Sunday 12^th April 2026, with rehearsals and performances of:

A. Copland: Billy the Kid Suite

L. Bernstein: Symphonic Dances from West Side Story.

Email orchestra@surrey.ac.uk if you would like to take part.

If you are a classical music performer, and hold a British passport, you can apply for . HRTCT was established in 1997 for the 'Advancement of public education in, and appreciation of, the art and science of Music and allied performing arts.' The Trust's benefactor, Mr H R Taylor, who lived in Cheam, ¿Û¿Û´«Ã½, and died in 1996, was devoted to music throughout his life and wished to encourage the growth of music-making and live performance by people of all ages. Since 1997, the Trust has provided financial support for a range of musical activities in the geographical and historical areas of ¿Û¿Û´«Ã½.

Through partnership arrangements with the Royal College of Music, the ¿Û¿Û´«Ã½ and certain other national bodies it extends its support to musically gifted British residents beyond its core geographical area.

Typically, help may be given to the following:

• scholarship funding (both undergraduate and postgraduate)
• grants towards fees
• grants towards instruments purchase

Further to this, there is a number of University scholarships and bursaries available for both undergraduate and postgraduate students.

Adriano Bush Prize

An annual prize of £100 established in memory of second-year student Adriano Bush, awarded to the HE5 or HE6 level student with the best-assessed performance of a piece of Romantic piano music in the Department of Music and Media (the assessment to take place as part of a Performance module). The prize is awarded annually at the discretion of the Director of Performance.

Joyce Dixey Award

An award given by the Mechanical-Copyright Protection Society in memory of the late Miss Joyce Dixey who was the Society's Secretary and General Manager, open to all students in Music and Sound Recording except those registered for PhD by Composition. It is awarded to the composer of the most impressive musical composition as judged in performance.

Shoana M Mackay Dissertation Prize

A prize of not less than £50 given by Mr Ranald Mackay, whose daughter graduated from the Music Department in 1988, awarded to the student on the BMus (Music) programme who submits the best final-year dissertation.

Quattro mani: A piano duet competition

A first prize of £200, a second prize of £120 and a third prize of £80, donated by Maureen Galea, awarded to students on BMus programmes to encourage the study and performance of piano duet repertoire. This competition will be judged by an external adjudicator.

See information on.

As part of the Tonmeister programme, students are expected to record a wide range of music in a wide range of styles. Hence they are always looking for bands and ensembles to record in our studios or on location. The Institute of Sound Recording has the facilities to record all styles of music to a professional standard, however the student engineers are still learning their craft and so whilst recordings are usually of a high quality we cannot guarantee a professional result. 

Please fill out the following form, and we will get back to you soon:

The Dame Ethel Smyth Prize is awarded for an impactful and high-quality performance of a piece of classical music by a woman composer by a music student of the ¿Û¿Û´«Ã½, at a public performance. The prize is made in acknowledgement of the strong and continuing links between the ¿Û¿Û´«Ã½, the county of ¿Û¿Û´«Ã½, and the composer Dame Ethel Smyth, but the performance for which the prize is awarded need not be of Smyth’s music necessarily.

The performance in question will likely be a public assessed recital, though other forms of performance, both on and off campus, will be considered provided the event is an official ¿Û¿Û´«Ã½ performance that features as part of its annual Events calendar. It will normally be awarded to a solo performer, or possibly a performer who takes a significant and soloistic role within an ensemble.

The (IGRC) is committed to the study and development of the guitar’s compositional, performance, analytical and technical activity across a range of geographical and stylistic domains. Now with a number of International partners across six continents (including the , , , the network in Canada), the IGRC has become a global hub of guitar research, co-hosting  conferences and festivals in the USA, Hong Kong, China, Canada, Portugal, Germany, UK and Australia, providing a fertile network for its scholars and practitioners, and disseminating its work (through scores, recordings, performances, broadcasts, academic writing and pedagogical materials) to broad public and cultural impact. Through this pluralistic activity, the IGRC advances and enriches the diverse practice, culture and public engagement with this universal instrument.

Early Recordings Association was founded by Dr Inja Stanović (¿Û¿Û´«Ã½) and Dr Eva Moreda Rodríguez (University of Glasgow), in order to provide an international platform for communication between researchers and early recordings enthusiasts. Membership is free and members can use the platform to promote their own research interests, discover the interests of others via a searchable directory, and form connections with others in the field. ERA is an open-access resource, aimed at general public, enthusiasts, and academics, ERA brings together the past, present, and future of early recordings research.

The provides a forum for innovative and transformative scholarly research in Austrian and German music from all periods of history and of all genres, including popular music, jazz, folk, sonic arts, and hybrid forms. The IAGMR is  interested as much in the social politics of music (diaspora, migration, colonisation, appropriation, identity) as it is in philosophies, aesthetics, and analyses of music, and the practices, events, performance contexts, institutions, reception histories, and critical frameworks through which it is mediated.

The Theatrical Voice Research Centre brings together researchers, performers, and cultural organisations involved in different genres and socio-cultural contexts. As a community, we aim to overcome the boundaries between singing and the spoken word in both live and mediated settings, classical and popular idioms, Western and non-Western practices.  We link comparative and historical investigations of the voice with contemporary voice training and performance, and are eager to share scholarly and performance-based understandings of the voice with the cultural industries and wider society. 

Dr Tom Armstrong, Director of Learning and Teaching. Tom is a composer who frequently works with performers collaboratively on long-term projects. His interests in composition cluster around the following topics: the composer/performer relationship, the revision process in composition, and reworking. Tom is also interested in the relationship between concert programming and composition; several projects in progress involve the curation of continuously running programmes in collaboration with ensembles and soloists. He has collaborated with colleagues at ¿Û¿Û´«Ã½ on performance-related research, organising the 2022 Performance Studies Network conference and co-editing a special issue of Performance Research. Tom studied at the University of York (with Roger Marsh), Dartington Summer School (with Vinko Globular) and the Britten-Pears School (with Oliver Knudsen, Colin Matthews and Magnus Lindberg). Tom’s music is recorded on Resonus Classics, Meridian and released by the Delta Saxophone Quartet (Late Music). Read more and listen to music at 

Dr. Barbara Gentili, ¿Û¿Û´«Ã½ Future Senior Fellow. Barbara is an opera singer and music historian. She trained at the Milan Conservatoire and the Accademia di Voci Verdiane at the Fondazione Toscanini in Parma. Barbara has starred in many opera houses in Italy, including Teatro Dal Verme (Milan), Teatro Sociale (Como), Teatro Ponchielli (Cremona), Teatro Fraschini (Pavia) and Teatro Grande (Brescia), and in several concert halls throughout England. Leading operatic roles she played include Fiordiligi in Così fan tutte and the Second Lady in The Magic Flute by W.A. Mozart, Sailor in Purcell’s Dido and Aeneas, Santuzza in Mascagni’s Cavalleria Rusticana, Violetta in Verdi’s La traviata, the Portatore in Brecht’s L’eccezione e la regola, Micaëla in Bizet’s Carmen, Nedda in Leoncavallo’s I Pagliacci, Tosca and Sour Angelica in the eponymous operas by Puccini, and Mimì and Cio Cio San in respectively La Bohème and Madama Butterfly by again Puccini. As a scholar, Barbara has since published in the most prestigious academic journals and her first monograph, Italian Opera Singing at the Time of Verismo. The Invention of the Modern Voice has just been published by Boydell and Brewer. 

Professor Stephen Goss, Director of International Guitar Research Centre. Professor Steve Goss is Director of the International Guitar Research Centre at the ¿Û¿Û´«Ã½ and a Professor of Guitar at the Royal Academy of Music in London. He has supervised over 25 PhDs to completion in the areas of performance research and composition. He gives lectures internationally on guitar performance practice of the 20th and 21st Centuries. Steve's music has been recorded on over 100 CDs by more than a dozen record labels. He has been commissioned by many of the world’s most celebrated performers (John Williams, Ian Bostridge, Evelyn Glennie, Nicola Benedetti, Mikhail Pletnev) and leading orchestras (Royal Philharmonic Orchestra, Russian National Orchestra, China National Symphony Orchestra).

Dr Tom Hall, Programme Director (BMus in Creative Music Technology) is a UK-based Australian composer, performer and writer on music with a particular interest in combing live and fixed electronics with instrumental ‘acoustic’ music. Much of his music involves notions of flow and slowness and collaborative and practice-based work often shares some form of digital notation with audiences. Hall’s work usually combines composed, algorithmic and improvisatory elements often using multichannel or individually experienced mobile sound. As a performer he has for years sat behind a laptop, but has been spotted in the past with electric and acoustic guitars, as well as a violin. Hall has been an occasional member of ensembles including Arf Arf, [rout], and with Sam Hayden, butterflyCut.

Dr John McGrath, Programme Director (BMus). A professional guitarist from the age of 17, John has performed thousands of gigs including in ensembles with Dustin Wong, Sharon Gal, History of Harry, Black Snow Rodeo, Cavalier Song, Tequila Sunrise, Rhys Chatham, Howard Skempton and the aPAtT Orchestra. Recent session work includes two records with The Unattached (Gare du Nord, 2024). A musicologist with extensive experience in popular music performance, John holds degrees from UCD (BA, BMUS), Trinity (MPhil) and Liverpool (PhD Music). His monograph Samuel Beckett, Repetition and Modern Music (Routledge, 2018) explores the interactions and cross-pollination of music and literature including examinations of the Beckettian music of Morton Feldman and avantjazz guitarist Scott Fields (positive reviews in Music & Letters, Psychology of Music, Irish Studies Review, The Wire, Burning Ambulance); while other recent publications investigate the transmedial work of Laurie Anderson and David Lynch in addition to practice research on glitch aesthetics and avantfolk. He is Deputy Director of the International Guitar Research Centre (IGRC) and has co-edited the collection 21st Century Guitar for Bloomsbury (2023).  

Dr Milton Mermikides, Director of Research, performs and presents internationally as a guitarist, electronicist, academic and educator in a range of styles. He is a Professor of Jazz Guitar (RCM), an Ableton Certified Trainer, and has published peer-reviewed articles on performance practice (published by Routledge, Bloomsbury, Soundboard Scholar, Oxford University Press and Cambridge University Press), particularly in the realm of expressive micro rhythm (’time feel’), digital performance, improvisational and interpretive models (M-Space). He has contributed over 120 articles for a popular audience (from Guitar Techniques, MusicRadar, Future Music, Computer Music, Total Guitar) and gives masterclasses and residencies internationally. He has collaborated with John Williams, Steve Winwood, Pat Martino, South Bank Centre, Ableton, Evelyn Glennie, Design Museum, Science Museum, City of London and in his role as Gresham Professor of Music and Deputy Director of the International Guitar Research Centre gives multiple public lectures and keynote presentations related to performance to an international audience.

Dr Inja Stanović, Director of Performance. Inja is a pianist and researcher, focusing on early recordings and nineteenth century performance practices. She holds piano performance degrees from Moscow Conservatory Tchaikovsky, Boston Conservatory and Parisian Schola Cantorum.  Inja has performed throughout the world, including concerts in Croatia, Australia, France, Germany, Italy, Slovenia, Mexico, the United Kingdom, and the United States. Inja’s pianism focuses upon 19th Century performance practice, as she combines musicological research (with particular emphasis upon 19th Century reception, stylistic tendencies, and performance techniques), and practice-based research (involving historically-informed performance practice. Inja's research and practice are focused on historical performance research,  early sound recordings, and mechanical recording technologies. Her lates publications include  (Routledge, Feb 2023); research album with Dr. Milsom, (Huddersfield: University of Huddersfield Press, 2022) and (Music & Practice, 2023) Inja directs the Early Recordings Association (ERA), a digital platform for historical recording research and practice.

Dr. Bill Thompson, Teaching Fellow in Music and Creative Music Technology. Bill Thompson is a sound artist and composer. He performs regularly as a soloist as well as in a number of groups including The Seen, Three Plus One and Airfield (with Ian Spink), and duos with Richard Sanderson, Phil Durrant, and Yoni Silver. Past collaborations include performances with Keith Rowe, Faust, EXAUDI and others. Originally trained as a guitarist, Thompson has worked with live electronics for over 20 years. He now performs with a Moog guitar combined with electronics and miscellaneous tabletop devices, found objects, flashing lights, and the occasional vibrator. He has earned numerous awards and commissions including the Venice Biennale, Organ Reframed, the Sound Festival, the PRS for New Music ATOM award, the GAVAA Visual Arts Award, a PRS for New Music Three Festival commission, the Aberdeen Visual Arts Award, and was nominated for the Paul Hamlyn Award.

Dr Georgia Volioti is the MMus Programme Director, the Director of Music Careers and Employability and a Senior Lecturer in Music. She has interdisciplinary research interests in music performance which span across music performance studies, performance psychology and music education. Her research is published in leading peer-reviewed journals including The Musical Quarterly, Music and Letters, The Journal of Musicological Research, Music Performance Research, Musicae Scientiae and Research Studies in Music Education among others. Book chapters have been published in edited volumes by Routledge (Taylor & Francis). She is a frequent peer reviewer of performance scholarship for prestigious academic journals including: Frontiers in Psychology (Performance Science section); Empirical Musicology Review; Journal of New Music Research; Music and Letters; Acta Musicologica; Research Studies in Music Education; Psychology of Music; Nineteenth-Century Music Review; and Musicae Scientiae. Her recent book (as lead editor) is published in the Routledge series SEMPRE Studies in the Psychology of Music. She is currently co-editing, with equal contribution to the project, a special issue of titled ‘On Music’, which evaluates the current state of music performance studies and its relation to other disciplines. She is a frequent presenter at major national and international conferences on music performance, including the International Symposium on Performance Science and the Performance Studies Network International Conferences among others. She has organised and hosted various international conferences on music performance at the ¿Û¿Û´«Ã½. Her forthcoming conference (26-27 June 2025) is . She has given public pre-performance talks for company and has written on contemporary issues in arts and culture for . Her areas of teaching and supervision encompass a diverse range of topics on music performance at both undergraduate and postgraduate levels of the BMus and MMus programmes. 

Dr Christopher Wiley is Head of Department of Music and Media and Senior Lecturer in Music at the ¿Û¿Û´«Ã½, and a . Educated at the Universities of , ¿Û¿Û´«Ã½ and , he also holds multiple music diplomas. Internationally acknowledged for his research in areas including musical biography and life-writing, , , music in popular culture, gender studies, and higher education learning and teaching, he is also active in the field of music performance studies. Work in the latter includes articles on specific repertories such as the keyboard music of Ethel Smyth; supervising and examining multiple practice-led PhD and DMA dissertations; and publishing over 60 reviews of live performance for . He has given pre-performance talks for internationally high-profile organisations including  and the , as well as for concerts in major Central London venues such as  and the . He has written programme notes for the , , and other organisations internationally, as well as liner notes for multiple commercially released recordings. He is a Director and Trustee of , which has commercially released 12 professional recordings over the past decade, and regularly organises recording sessions working with commercial labels such as (Lontano Records); he is also Musical Executor and a Trustee of . He is currently co-editing a special issue of the journal  and preparing a music edition for , one of the world’s leading publishers. He remains active on oboe, organ and other instruments, and regularly performs with the University Orchestra, University Chamber Orchestra, University Choir, and multiple student chamber ensembles, and as a soloist. His work at ¿Û¿Û´«Ã½ includes performance teaching, workshop facilitation and examining; he is also a freelance instrumental teacher. Recent performances (selected list): .

Russell Keable has established a reputation as one of Britain’s most exciting and versatile musicians. ‘Keable and his orchestra did magnificently’ wrote The Guardian, ‘one of the most memorable evenings at the South Bank' said The Musical Times. He performs with orchestras and choirs throughout the British Isles including the London Mozart Players, Manchester Camerata, Northern Ballet Orchestra, BBC Concert Orchestra, Viva and Royal Philharmonic Orchestra. He is a regular guest conductor for the Royal Oman Symphony Orchestra, has conducted in Prague and Paris (concerts filmed by French and British television) and recently made a highly-praised début with the George Enescu Philharmonic in Bucharest. His regular performing partners include many leading national and international soloists (including Steven Isserlis, Tasmin Little, Nikolai Demidenko, John Lill and Nicholas Daniel).

is a mezzo soprano from Wigan, currently in her final year of masters vocal studies at Trinity Laban Conservatoire of Music and Dance, under the tutelage of Neil Baker and coached by Panaretos Kyriatzidis. As a first class BMus graduate from the ¿Û¿Û´«Ã½, Amy was awarded the ‘Robert Naylor Memorial Prize’ for the most meritorious final performance and the ‘Faculty Placement Student of Year Award’ for her placement with the English National Opera’s outreach and engagement team. Previous roles include the title role of Adela (Manchester Contemporary Youth Opera and Tête à Tête Festival), Jill in Merrie England (Brent Opera), Elém in Syllable, Olivia in Strozzi and Justine in Frankenstein or the Modern Prometheus (Trinity Laban Opera). Amy is also a founding member of new music collective, The Ruffians. Amy is a recipient of the Charles Jacobs award and her studies are supported by Help Musicians.

• Caroline Balding, violin
• David Burrows, cello
• Deborah Davis, flute
• Sarah Field, trumpet
• Paul Geary, bass guitar
• Caroline Harding, double bass
• Jenny Howe, voice
• Thomas Law, saxophone
• Joe Richards, percussion
• Margaret Roberts, piano
• Jennifer Snapes, voice
• Paul Thomas, guitar
• Darby Todd, drums
• David Whitson, trombone