Staff A-Z

Informed by her solo performing, Sophie works extensively in music/voice education. She is vocal professor/coach at Trinity Laban; visiting director of devised voice-work for BMus/MA productions at RADA (Royal Academy of Dramatic Art) and the Drama Centre (Central St. Martins College of Art and Design); and director/soloist for creative music education projects, here and abroad (including Spitalfields Festival, Glyndebourne, ENO Baylis, Norwich Theatre Royal, Oxford Lieder Festival, Sinfonia ViVa).

Sophie is presently funded by the AHRC (Arts and Humanities Research Council) to research classical voice pedagogy at the Institute of Education, University of London.

Solo recordings include Complicite’s Out of a House Walked a Man, Brodsky Quartet’s Moodswings, Bernard Cavanna’s Messe, un jour ordinaire (Ensemble Ars Nova, France).

Solo broadcasts include Monteverdi’s The Coronation of Poppea (ENO/BBC), Jonathan Harvey’s Song Offerings (Radio France), Sophocles’ Oedipus Plays (directed by Sir Peter Hall, music by Judith Weir/BBC), Bettina Skrzypczak’s Miroirs (Radio France), Lisa Gornick’s Do I love you? (Film/Channel 4).

Research outputs include several journal articles (voice pedagogy/performance) and a recent contribution to the publication Learning, Teaching and Musical Identity: Voices across Culture (May 2011, ed. Lucy Green, Indiana University Press).

Known for her insightful work as a writer, teacher, and broadcaster, she engages international audiences across music, the arts, and education, publishing in multiple languages. With nearly two decades of experience in higher music education across the UK and Europe, Dr Guillaumier is widely recognised for her leadership in curriculum development, academic strategy, and digital learning. She previously served as Head of Undergraduate Programmes at the Royal College of Music and as Head of Contextual Studies at the Royal Conservatoire of Scotland.

Dr Guillaumier is a Fellow of the Royal Society of Arts (FRSA) and a Senior Fellow of the Higher Education Academy (SFHEA). She is also an editor at Bärenreiter, specialising in critical editions of piano music. Her most recent publication, a critically acclaimed biography of Sergei Prokofiev with Reaktion Press, reflects her expertise in Russian music. She co-convenes the Slavonic and East European Music Study Group and holds visiting roles with institutions internationally. She is also an active peer reviewer for academic journals and publishers.

Her research focuses on two interrelated areas: music history and cultural practice; and conservatoire training, pedagogy, and artistic research. She has held fellowships and research appointments at Princeton University, the Paul Sacher Foundation in Basel and the Royal College of Music. Her work has been supported by the AHRC, European Union, Erasmus, American Musicological Society, and others.

His Scottish Opera debut was covering Don Ottavio Don Giovanni directed by Sir Thomas Allen and conducted by Speranza Scapucci.

His English National Opera debut was Guest John Cage Dinner Party for ENO MusiCircus, and he has returned to ENO many times since. ENO performances include Pliable/Superstition/Celestial Voice cover A Pilgrim’s Progress, Dantine cover The Perfect American, in preproduction workshops and showcases between ENO, The Barbican and the Young Vic as Gizmo 3 The Way Back Home and Security Guard Between Worlds, an ENO Late Shift Recital at the National Portrait Gallery, and for ENO Baylis Know the Show events as Tamino Magic Flute and Alfredo La Traviata, a member of ENO Opera Squad 2015, 2016 & 2017 singing Nanki-Poo The Mikado, Don Ottavio Don Giovanni and Don Basilio Le Nozze di Figaro in schools performances and has appeared as guest soloist with the ENO Community Choir.

Austin made his Portuguese debut in 2017 as Martin in the premiere staging of Hummus by Zad Moultaka and Manager in The Waiter’s Revenge by Stephen Oliver at the Musica Na Fabrica Festival, Lisbon directed by Max Hoehn, his Swiss debut in 2018 as the Spectre in Dvorak The Spectre’s Bride in Zürich conducted by Philipp Mestrinel and his Norwegian debut in 2026 as the tenor soloist in Stainer Crucifixion for Sandefjord Kammerkor and he makes his Polish debut in 2027 in Vaughan Williams On Wenlock Edge.

Other operatic roles for comapnies including Longborough Festival Opera, Berwick Festival Opera, Tete a Tete Festival, Opera Anywhere, InterOpera, include Don Jose Carmen, Nemorino L’elisir d’amore, Don Ottavio Don Giovanni, Beppe Rita, Aubrey Der Vampyr, Dormont La Scala di Seta, Bobby The Fisherman’s Brides, Manager The Waiter’s Revenge, Frederick Pirates of Penzance, Nanki-Poo The Mikado, Ralph Rackstraw HMS Pinafore, Martin Hummus, Bardolfo Falstaff, Middle Son The Vanishing Bridegroom and Goffredo Rinaldo.

Austin appears regularly throughout the UK and in France, Sweden and Italy in concert in a vast array of repertoire. As a recitalist he has performed ‘Tennyson’s Lyricism and the Composer’s Response’ at the Literary and Philosophical Society, Newcastle, and ‘Languorous Ecstasy’, a selection of works by Libertine poets, at Hull University and a selection of Victorian and Edwardian medicinal song for the VIP relaunch of The Wellcome Collection in London. Most recently recitals include ‘Love, lullabies & Longing’ at Yamaha Music and for the Pen & Palette Society, and ‘Songs by Women’ also at Yamaha Music and in 2027 he is performing On Wenlock Edge for the International Conservatoire Recital Series and in Poland.

Recording and film credits to date include Montague John Cage Dinner Party, Maxwell Davies Solstice of Light, 1st Tenor Soloist Curlew River, Zweite Lehrbube Die Meistersinger von Nurnberg all for BBC Radio 3, a recital of song for American television network PBS, and as the singing voice of a German soldier in the television series ‘Band of Brothers’ directed by Steven Spielberg and Tom Hanks.

As well as performing Austin has produced and directed operas and concerts for Leeds Youth Opera, Berwick Festival Opera, Newcastle Area Chamber Opera, Rocket Opera, William Shield Festival, Tyne Coast Festival, Trinity Laban Conservatoire, and Hull University.

As well as the above Austin directed an outreach programme for young singers as part of the National Sing Up campaign, has led workshops for many choirs, was director of the Lantern Singers at Newcastle Cathedral, Director of Music at All Saint’s, Gosforth and All Saints Festival Choir, and Acting Director of Newcastle Cathedral Girls Choir. He has conducted cathedral choirs, symphony orchestras, operas and oratorios for many years and engages in research in expressive language for singers and encouraging underrepresented composers. As well as a Masters Degree and Postgraduate Diploma in opera from the Royal Conservatoire of Scotland, a Diploma of Higher Education from the Royal College of Music, Fellowships of the Guild of Musicians & Singers, the Society of Crematorium Organists and the Independent Society of Musicians, he has certificates in neuroscience, linguistics, and management and is a member of the Association of Teachers of Singing and a founder member of the Tyne Coast Arts Collective and Vice President of Ryton & District Music Festival, faculty member of Brescia Academy of Music Talent Music Master course in Italy, and of the board of studies to the True School of Music, Vijaybhoomi University, India.

SAHRA has a range of enviable career highlights including performing at; London Jazz Festival, Dimensions, WOMAD, We Out Here as well as receiving co-signs from the likes of; BBC Radio 1, 1Xtra, Worldwide and Rinse FM. After a brief hiatus throughout the lockdowns, SAHRA is back for good and her recent single ‘Sorry’ confirms why, gaining support from; COLORS, BBC Introducing, BBC 1’s Victoria Jane, Worldwide FM, The Line Of Best Fit, and Wonderland to name a few. Exuberating mysticism, she is able to express her individuality through stories, commanding attention with her rich and faultless voice.

Henrietta was co-director of Independent Dance between 2018 – 2023. She is currently completing a PhD at Centre for Dance Research, Coventry University, investigating the archive of Tavistock Institute of Human Relations through embodied performance practice. She has a 25 year dance artist practice, most significantly as founder member of collective Dog Kennel Hill Project (DKHP) since 2004, producing work across theatre, gallery, screen and unusual sites, i.e.Whitechapel Gallery, Dance Umbrella, and Brighton CCA.

She has taught regularly in HE undergraduate contexts, significantly at Trinity Laban (2002 – 2013).

He now brings a wealth of experience as an educator, teaching singing to industry professionals, (many of whom are in current west-end, UK and International touring productions) drama school undergraduates and post-graduates. He has also directed award-winning choirs and musicals, workshops and summer schools alongside the esteemed UK vocal coach, Julie Gossage.

Together, they are proud to represent Vocal Balance UK, an exciting clutter-free vocal pedagogy which, according to their students’ testimonials, is ‘creating waves’ within the vocal arts industry. www.vocalbalance.co.uk

IG: @VocalBalance | Linkedin: Vocal Balance | FB: @VocalBalance

She has also been a member of staff at the Royal College of Music London, The Royal Conservatoire of Scotland and Manchester University.

As a performer and director, she has enjoyed the privilege of working with several 20th Century composers including Gian-Carlo Menotti and Hans Werner Henze, and has also directed works, in consultation with the composers, by James MacMillan and Mark-Anthony Turnage.

She is also Artistic Director and Trustee for the Yorke Trust Opera Courses in Norfolk, UK for whom she has directed annual productions of Baroque opera over the last twenty five years.

For Trinity Laban, she has directed many opera scenes as well as full productions of Menotti’s Amahl and the Night Visitors, Thea Musgrave’s A Christmas Carol and Ana Sokolovic’s Svadba. Jennifer’s most recent production for Trinity Laban was Strozzi! – a theatrical piece she devised about the eventful life of composer Barbara Strozzi, incorporating Strozzi’s music with a script written by JH.

As a choreographer Matthew Harding has received awards for the work, he has produced both independently and with Urban Interface Dance UK. These productions have taken place at theatres throughout the UK and venues such as , Sadlers Wells, Royal Albert Hall, The Place, Brighton Fringe and Internationally.

Matthew Harding is also the founder and director for Wolfpack Dance Collective UK.

Matthew Harding is a well-respected international Judge for Hip Hop International Judging at competitions within Europe and Internationally.

Guy Harries is a composer, sound artist and performer working with electronics, acoustic instruments, voice and cross-disciplinary collaboration. He lectures at Trinity Laban Conservatoire in composition, electronic music and interdisciplinary practice. His research explores dramaturgy and liveness in electroacoustic performance, participatory and community-based creative practice, and the intersection of performance, wellbeing and queer identity.

Recent works include the opera QueerLove (Tête-à-Tête Opera Festival, 2024), the award-winning dance/sound documentary SINGULAR (2022), the choreography commission Mineral Language (Accademia Nazionale di Danza, Rome, 2022) and the dance film Aether (2023). Earlier opera work includes Two Caravans, winner of the Flourish New Opera Prize, and Jasser, which toured the Netherlands. His music releases include solo work and collaborations on labels including X-OR, Sub Rosa, Migro and Sombre Soniks. He is co-founder of Queer Spaces, an organisation delivering creative wellbeing workshops and training for the LGBTQ+ community, and is a qualified counsellor and registered BACP member. He completed his PhD in Electroacoustic Music at City, University of London.

www.guyharries.com

Commissions include works for Duo Antongirolami-Selva, BBC Symphony Orchestra, Séverine Ballon, Christopher Redgate and Cikada Ensemble, ELISION Ensemble, Duo Galeano-Javaid, Mieko Kanno, London Sinfonietta, Ensemble Musikfabrik, Ensemble Mosaik, Duo Öhman-Kordzaia, Frode Haltli and Oslo Sinfonietta, Quatuor Diotima, RepertorioZero, Mats Scheidegger and Steamboat Switzerland, performed at festivals including Ars Musica (Brussels), BBC Proms (London), Música Contemporánea Fundación BBVA (Bilbao), Bludenzer Tage zeitgemäßer Musik, Gaudeamus Muziekweek (Utrecht), Huddersfield Contemporary Music Festival, Festival Images Sonores (Liège), London Ear Festival, MaerzMusik (Berlin), Musik im 21. Jahrhundert (Saarbrücken), Spitalfields Winter Festival, Tage für Neue Musik (Zürich), Ultima Festival (Oslo) and Warsaw Autumn.

Amelia originally trained as a ballet dancer at The Royal Ballet School and she went on to graduate from Kings College London with an MSc in Physiotherapy in 2018. She also holds an MSc in Dance Science from Trinity Laban. She has additional qualifications in acupuncture, trauma radiology and is working towards an advanced physiotherapy masters.

Alongside her physiotherapy work Amelia has also worked as a Dance Science Educator for organisations such as the Royal Academy of Dance and One Dance UK. She continues to enjoy a supervisory and educational role within the NHS.

Colette is a dance specialist physiotherapist at Trinity Laban. Through her work she has treated pre-professional and professional dancers from a variety of genres, West-End artists and musicians. She has worked with elite GB and international athletes, as well as football clubs. Colette has extensive understanding of injury prevention and rehabilitation and believes in a holistic approach to the care of patients. This is reflected in her interest in health and performance psychology and how these principles influence injury and rehabilitation.