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RWCMD proclaims new scholarship celebrating the lifetime of Sir Geraint Evans whose centenary is that this yr

Edward Kim performing at the celebration of Sir Geraint Evans (Photo Kirsten McTernan)
Edward Kim performing on the celebration of Sir Geraint Evans at RWCMD (Photograph Kirsten McTernan)

This yr is the centenary of the nice Welsh baritone, Sir Geraint Evans and the Royal Welsh Faculty of Music and Drama (RWCMD) has been celebrating. Sir Geraint was the school’s president when he died in 1992, and to mark the centenary there was a musical occasion, Not a nasty voice and the announcement of a brand new full scholarship.

To encourage future singers by means of his instance, a £150,000 fund will present this new scholarship to 1 scholar per yr in RWCMD’s David Seligman Opera College for the subsequent ten years in Sir Geraint’s title. The scholarship, which favours baritones and Welsh candidates, was introduced at Not A Dangerous Voice on the faculty on 29 September 2022. The primary Sir Geraint Evans Centenary Scholar is South Korean baritone, Edward Kim, who joined the opera faculty in 2021 and who carried out at Not A Dangerous Voice  alongside fellow RWCMD college students. 

In 2021 RWCMD additionally introduced a programme, awarding bursaries of as much as £1200 to all its new UK undergraduate college students with a family revenue of beneath £30k every year, additional serving to its college students in monetary want, encouraging variety and giving alternatives to proficient younger folks, no matter their monetary circumstances.  

Not A Dangerous Voice, led by Nicola Heywood-Thomas, celebrated Sir Geraint’s life with movie, singing and storytelling from those that knew him and people he continues to encourage, together with Sir Geraint’s sons’ Huw and Alun, RWCMD director of music, Tim Rhys-Evans, RWCMD head of cocal research, Mary King, Scottish baritone Donald Maxwell, and college students of the Faculty.

I used to be fortunate sufficient to listen to Sir Geraint in numerous unforgettable performances on the Royal Opera Home within the early Nineteen Eighties, together with as Coppélius in Les Contes d’Hoffmann, Beckmesser in Die Meistersinger von Nürnberg, the title position in Don Pasquale and Dulcamara in L’elisir d’amore (his remaining operatic position on the Royal Opera Home).

 Additional data from the RWCMD web site



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