Staff A-Z

Nowadays, John still holds his position in the RPO, as well as being principal oboe in the English Chamber Orchestra and the Academy of St Martin in the Fields. He has performed concertos in Europe, Asia and Africa, and is also a very keen chamber musician, having toured extensively with the ASMF chamber and worked at various times with London Winds, the Gaudier Ensemble, Zarek Chamber and the London Sinfonietta.

In recent years, John also has a small presence on CD, having recorded Poulenc’s Sonata, Trio and Sextuor with the pianist Mark Bebbington, and a solo number in John Rutter’s I Sing of a Maiden EP.

Engagements have included the world premiere of Xavier Dayer’s Mémoires d’une jeune fille triste in Geneva, Gianni Schicchi for Covent Garden with Richard Jones and Antonio Pappano, and Kaija Saariaho’s L’amour de loin for English National Opera. She has also given various recitals and concerts across the UK and Europe including performances with City of Birmingham Symphony Orchestra, London Philharmonic Orchestra and Goldsmiths Choral Union, as well as at a number of festivals: the Edinburgh International Festival; Derry City of Song Festival; St Magnus; Oxford Lieder; and Brighton, Ryedale, Carlisle, Norfolk and Norwich and Buxton Festivals. Other performances have taken place at Chichester Festivities, Kings Place, Wigmore Hall, St John’s Smith Square, King’s College, Cambridge, Dartington International Summer School and in Paris, Vienna, Aarhus, Moscow, Barbados and Ohio.

Joan Rodgers received the Royal Philharmonic Society award as Singer of the Year for 1997, the 1997 Evening Standard Award for outstanding performance in opera for her performance as The Governess in the Royal Opera’s production of The Turn of the Screw and an Honorary Doctorate of Music from Liverpool University in July 2005. Joan Rodgers was awarded the CBE in the 2001 New Year’s Honours List.

Mr. Rogé has performed in almost every major concert hall in the world and with every major orchestra across the globe and has collaborated with the most distinguished conductors in history, including Lorin Maazel, Michael Tilson Thomas, Mariss Jansons, Charles Dutoit, Kurt Masur, Edo de Waart, Alan Gilbert, David Zinman, Marek Janowski, Sir Andrew Davis, Raymond Leppard and others.

One of the world’s most distinguished recording artists, Pascal Rogé has won many prestigious awards, including two Gramophone Awards, a Grand Prix du Disque and an Edison Award for his interpretations of the Ravel and Saint-Saëns concertos, along with the complete piano works of Ravel, Poulenc and Satie.

Several years ago, Mr. Rogé began a new and ambitious recording project for Onyx called the Rogé Edition. With the Vienna Radio Symphony under Bertrand de Billy, he has recently recorded two CDs of both of the Ravel Piano Concertos and the Gershwin Concerto in F and Rhapsody in Blue.

Recently, he has enjoyed playing recitals for four-hands/two-pianos with his partner in life and in music Ami Rogé. Together, they have travelled the world appearing at prestigious festivals and concert halls and recorded several CDs dedicated to the French 2 piano and 4 hands repertoire. In 2011 they gave the premiere of a newly commissioned Concerto for Two Pianos by the composer Matthew Hindson with the Sydney Symphony Orchestra, conducted by Vladimir Ashkenazy.

Recently chairman of the Geneva Piano competition, Pascal Rogé is also dedicated to teaching and gives regular masterclasses in France, Japan, United States and United Kingdom.

Penelope Roskell combines an international performing career with posts as Professor of Piano at Trinity Laban, and as visiting artist at Royal Welsh College of Music and Drama. She is also the author of the award-winning book The Complete Pianist: from healthy technique to natural artistry, published by Peters Edition. She has performed as soloist at major concert halls throughout Britain, including the Barbican Concert Hall, Wigmore Hall, Bridgewater Hall, Queen Elizabeth Hall and Purcell Room. She has also travelled widely throughout the world, playing in over thirty countries in Western and Eastern Europe, the United States, Africa, Asia, and the Middle and Far East. She plays and teaches a very wide range of repertoire. Her first prize at the British Contemporary Piano Competition resulted in numerous invitations to festivals of contemporary music, including eight recitals in Hans Werner Henze’s festivals in Montepulciano and Munich. Her performances of Bach, Mozart, Schubert, Schumann and Shostakovich have been particularly acclaimed. She has played Mozart Concertos with numerous orchestras, including the London Mozart Players at the Barbican Concert Hall and on tour with Sir Simon Rattle. She has also played both Shostakovich Concertos in the Queen Elizabeth Hall with the Docklands Sinfonietta. She is also a committed chamber musician and has performed with many distinguished artists. Over the last twelve fifteen years she has played piano quintets regularly with the Fitzwilliam String Quartet, and plays in the Roskell Piano Trio with the violinist and cellist from the quartet. At Trinity she founded Meridian, a piano and wind ensemble with Trinity professors. Her work with dance companies has included a season of solo performances with Twyla Tharp Dance Company at Sadlers Wells.

Sue studied harp with Renata Scheffel-Stein at the Royal Academy of Music. Her harmony teacher was Dr Paul Steinitz who always encouraged her to compose. Winning several awards, she was the first recipient of the Renata Scheffel-Stein prize, and a prize winner at the first National Harp Competition.

In 1981 Sue was appointed principal harpist of the Bremerhaven Stadt Orchestra in Germany. After returning to London she freelanced, regularly performing with the BBC Concert Orchestra and English National Ballet, also often travelling to play with the Ulster Orchestra and the Symphony Orchestra of Tenerife. Sue also played for various ensembles as soloist and chamber artiste. Being a versatile player she has worked with singers such as Petula Clark and Barry White, and for the group Heaven 17. Together with Sarah Deere-Jones she formed The London Harp Duo, performing at festivals, making live broadcasts for BBC television and sailing around the world on the QE2.

As a composer Sue has written serious and light music, primarily for combinations of harp, piano and voice. Some of her works were premiered at Trinity Laban’s Camac Days Festivals in 2007 and 2009, including her Lament for Harp and String Quartet/Orchestra. She is best known for The Dream Studies and her beginners’ pieces in the Animals series books, which aim to help harpists develop good techniques early on, whilst being imaginative and fun to play. Some have been used as set pieces for competitions abroad and several are on the Trinity exam syllabus.

Before joining Junior Trinity, Sue worked as the harp teacher for the Latymer Saturday Music Centre and the Bedales Schools. She has taught players of all levels on residential courses here and abroad.
Sue has given harp lessons for the senior departments of the RAM, Birmingham Conservatoire, Trinity Laban and the RNCMD where for several years she was a Special External Examiner.

In 2022, Sue and the wonderful harpist Gwenllian Llyr, performed several of Sue’s harp solos and duets for the World Harp Congress held at the RWCMD. Gwenllian’s recording of Sue’s ‘Flying with the Birds Dream’ has been broadcast on BBC Radio 3 several times. In 2024 Sue performed and taught at the Edinburgh International Harp Festival. Sue will be one of the adjudicators for the Manchester Harp Competition in 2027.

Heidi’s research aims to resituate and reframe choreography and curation, exploring how they can move and subsequently move other things.

Currently, Heidi is busy with a series of choreographic works, titled Amplified Edition. This series seeks to queer the relationship between the body, sound and space toward activating and re-centring choreographic material which are otherwise situated in the background or hidden from view.

Her ongoing curatorial project Fest en Fest, thinks with choreography and its potential and seeks to rehearse new relations between artist, curators and audiences and choreographing alternative models for producing, presenting and congregating. H2DANCE continues to place the festival in new relations and spatial settings, enabling different forms of entanglements troubling current choreography definitions. It is as much about curating choreography as choreographing the curatorial.

Heidi recently finished her MRes in Advanced Practises with her research project; Queer Choreo Curation – off-score, wobbles and conviviality (2023). The project addresses forms of sociality and various kinds of social settings, working from highly scripted and unscripted forms, scores and off-scores as a way to queer and expand choreographic practises. Queer Choreo Curation formed part of Fest en Fest – LAB 2023 which was centred around the convivial as a way to think and experiment with questions of networks, relations, ecosystems, and infrastructures.

Qualifications and Background:

1992-95: Trained as a dancer at London Studio Centre
2021: Fellow of the Higher Education Academy (FHEA)
2020 – 23: MRes in Advanced Practised, Visual Cultures Department at Goldsmiths, University of London

Creative Outputs

Selected choreography:

Skinned (2022). Commissioned and performed by Emilyn Claid. Funded by The Arts Council of England.

Amplified Edition N ° 2 (2022). Funded by Nordic Culture Fund and Arts Council England. Co-produced by Rosendal Teater NO, Roehampton University, Firstsite/Colchester Arts Centre Colchester, Peterborough Museum/METAL Peterborough and Dance4 UK.

Vi & Oss & Andre (2021). Funded by Norwegian Arts Council – Fond for Lyd og Bilde. Co-produced by Sentralen Oslo NO

Amplified Edition (2019). Funded by Arts Council England & Nordic Culture Fund, The Norwegian Foreign Ministry. Co-produced by Rosendal Teater, DansiT and Black Box Teater NO, Dance4, MetalCulture & Earl Street Creative Space, Dansens Hus SE, and Dance All Year Along DK.

Strangers & Others (2017). Funded by Arts Council England, Arts Council Norway, Nordic Culture Fund, Region Värmland Sweden, Dance4 Nottingham UK and supported via South East Dance and Jerwood Charitable Foundation Dramaturg in Residence programme. Co-produced by Dance4, Laban Theatre and Metal UK, Nordic House IS, Region Värmland and Dansens Hus SE, Bergen Dansesenter and Liikelaituri FI.

STAGING AGES (2015). Funded by Arts Council England, Norwegian Arts Council, Swedish Arts Council and Region Värmland, Sweden. Co-produced by Riksteatern SE, DansiT NO, Trestle Arts Base, St Albans, DanceEast Ipswich, The Place London and Pavilion Dance South West UK.

SAY SOMETHING (children) (2014). Funded by SEANSE, SPENN, Norwegian Arts Council – Kunstløftet NO

DUET (2013). Funded by Arts Councils of England, Norway and Sweden, Region Värmland SE and Fond for Lyd og Bilde NO. Co-production DansiT NO, Studiotrade Cologne DE, Dans i Värmland SE, South East Dance and The Place UK. Supported by Escalator East to Edinburgh and The British Council Edinburgh Showcase. The audience vote winning Place Prize version was commissioned for The Place Prize for dance sponsored by Bloomberg in 2012.

SAY SOMETHING (2011). Funded by Arts Council of England, Nordic Arts and Culture Fund, Norwegian Arts Council, Swedish Arts Council and Buskerud Fylkeskommune, Fond for Lyd og Bilde NO, Säffle Kommun, Dans i Värmland SE and Arts and Grants Kensington and Chelsea UK. Co-produced by Choreodrome and Something Happening at The Place, Scenerommet, NO Union Scene NO, Medborgarhuset, Säffle SE, Devir CAPA PT, Hextable Dance, Laban Theatre, London Studio Centre and Goldsmiths College UK.

To Die For (2007). Co-production: Hedmark Teater NO. Funded by Statens Kulturråd and Värmlandsoperan SE and Royal Norwegian Embassy. Supported by Laban Theatre and Greenwich Dance Agency UK

På Gränsen (2005). Co-production Dans i Värmland and Värmlandsoperan SE.

COW the udder way (2004). Shrinking Cities, reinventing urbanism competition. Funded by German Federal Cultural Foundation. Winning entry.

Silent Movie (2004). Funded by The Arts Council England, London and Embassy of Sweden. Supported by Laban.

Curation:

FEST EN FEST – LAB (2023). Co-production with Sadler’s Wells and Dance Umbrella UK. Funded by the Nordic Culture Fund, The Royal Norwegian Embassy London, The Swedish Embassy London and The Finnish Institute.

FEST EN FEST (2022). Funded by Arts Council England, Cambridge Junction, The Royal Norwegian Embassy, Embassy of Swedish London, Embassy of Iceland and the Finnish Institute. Partnering with APT Gallery, NO Format gallery, Sadler’s Wells, Trinity Laban, VSSL, Firstsite og Cambridge Junction UK.

FEST EN FEST – PERFORM EUROPE (2022). Feminist Futures Towards antiracist and intersectional stages. Funded by Perform Europe, EU-funded project.

FEST EN FEST (2022). Funded by Arts Council England, Embassy of Sweden London, Royal Norwegian Embassy, Embassy of Iceland, Finnish Institute, Cambridge Junction. Partnering with APT Gallery, No Format Gallery, VSSL, Trinity Laban, Cambridge Junction, Sadler’s Wells, Roehampton University, Firstsite, Goldsmiths University of London

Fest en Fest – YOUTH – FÔLEGO (2022). Funded by Iceland Norway Lichtenstein Grants, EEA Grants Norway and Portugal. Partnering with Academia de Produtores Culturais Lisbon.

Fest en Fest – LAB (2021). Funded by Arts Council England, Royal Norwegian Embassy, Embassy of Sweden, London Contemporary Dance School, Roehampton University and Cambridge Junction.

Fest en Fest (2020). Funded by Arts Council England, Vision Mixers, Nordic Culture Fund, London Contemporary Dance School, Embassy of Sweden, Royal Norwegian Embassy Supported by Trinity Laban Conservatoire of Music and Dance, Cambridge Junction, London Contemporary Dance School, Goldsmiths University of London, Colchester

Arts Centre, Roehampton University, Gaff@The Fuel Tank, Shapes Lewisham

Fest en Fest (2018). Funded by London Contemporary Dance School, Opstart Nordic Culture Fund, Royal Norwegian Embassy, Embassy of Sweden

Grants:

2017: Artist International Development Fund Arts Council England
2015: Miscellaneous grant from Arts and Culture Norway
2012: Miscellaneous grant from Arts and Culture Norway
2010: Miscellaneous grant from Arts and Culture Norway

Adam Rutherford graduated with a BA (Hons) in Dance Theatre before joining Transitions Dance Company (MA Dance Performance) in 2002. Since graduating, he has performed works by many choreographers including Sir Matthew Bourne, Tamsin Fitzgerald, Hofesh Shechter, Enrique Cabrera and Helen Parlor. His many choreographic commissions include works for DanceXchange, 2Faced Dance Company, South East Dance, North East Wales Dance and YDance Scotland. Adam was assistant choreographer to Gary Clarke and rehearsal director for Rosie Kay Dance Company and 2Faced Dance Company, including for their 2016/17 tour Run. He is also the International Resident Choreographer at Accademia Internazionale Coreutica, Italy. In 2013, Adam founded RDC Youth, a professional contemporary dance youth company and Rutherford Dance Company. He was selected for One Dance UK Dancers’ Mentoring Programme 2017/18, awarded the DanceXchange DX Choreography Award 2017 and was shortlisted for the Inspirational Community Dance Practitioner Award at the first One Dance UK Dance Teaching Awards.

Gidon has twice been the recipient of Italy’s leading annual opera award, the Abbiati Prize, won a Gramophone Award for the title role in Handel’s Saul under Rene Jacobs, and has been nominated for both a Dora Award in Canada and for the Golden Mask in Moscow.

He has sung a wide repertoire internationally, and is active as a singing teacher, director, designer and author. He began directing and designing aged 17 in South Africa with Roger McGough’s Puny Little Life Show, and has created work in Manchester, Glasgow, Aberdeen, Antwerp, Ghent and London. He has taught masterclasses in Moscow, Seattle, London, Stavanger, Cape Town, Berlin, Toronto, Cleveland (with Roger Vignoles) and Amsterdam. Next season he creates roles in new operas in Hamburg and Brussels. 

Image credit: Danny Lowe