News & Views

Arriving at conservatoire: prepared, or playing catch-up?

Audition Oracle – Thu 30 Apr 2026 @ 7:41

There is a lot of discussion at the moment about funding pressure, tighter programming, and fewer risks across the opera world.

All of that is real. But something else surfaced this month that is worth paying attention to.

A targeted step towards closing the access gap

The Royal Academy of Music has introduced a fully funded Foundation Year, with places ring-fenced for state-educated students who have not had the same level of access to training.

You can read about it here: https://www.ram.ac.uk/study/courses/foundation-year

There has been some pushback on the decision to limit places in this way, particularly around whether restricting access by schooling risks excluding talented applicants who also fall outside traditional pathways.

It is worth being clear what the criteria actually are. Applicants must:

• have been educated in the UK state sector
• be aged 18 to 20
• be UK domiciled
• demonstrate financial challenge through a means-tested assessment
• be able to commit to a full year of study in London

In this case, both criteria are being used, state education and means-testing, which feels like a sensible, belt-and-braces approach.

Neither measure is perfect in isolation. Many of my peers came from very comfortable backgrounds, and a significant number were in receipt of full means-tested maintenance grants. Financial circumstances are not always visible, which makes identifying genuine need more complex. Some students at private schools were also not necessarily wealthy, for example where parents worked within the system. 

But regardless of income, those who had been in environments with greater exposure to classical music, and to the unspoken expectations that surround it, often arrived with a deeper understanding of how that world works. That kind of knowledge and confidence can make a real difference to how someone arrives at conservatoire, and how much they are able to make of it once they are there.

Arriving behind

When I arrived at music college, I was greener than Kermit the Frog.

I had not grown up in a family immersed in classical music. There had been no opera trips, no summer choral courses, no national youth choir, and no real sense of how any of this worked or what was expected.

I was lucky in many ways. The teachers at my state schools really cared about classical music. One had been a professional cellist. I worked weekends to pay for singing lessons I wanted to attend. At that time, we also had the opportunity to learn instruments at school.

But in terms of repertoire, musicianship, and basic understanding of the classical world, I was behind. I had never even seen an opera.

“Too late” at 19

Arriving at college at 19 and being told it was already too late, that I didn’t know nearly enough, was, looking back, ridiculous. 

Too late because I was not already:

• at a certain level on the piano
• fluent in repertoire I had never been exposed to
• able to sight-sing

Of course it was not too late.

What would have been more constructive is a simple and pragmatic approach. You are here. How exciting. You have this time at college, let’s make the most of it. Here is what we can do in lessons, and what you can do in your own time to broaden your knowledge.

That kind of thinking was missing, both on my part and in the wider training culture.

What this changes

And that is why this Foundation Year feels so sensible. It creates a bridge between potential and preparation. It gives singers the time, structure, and guidance to arrive at undergraduate training ready to make the most of it.

Instead of a crushing sense of needing to catch up, they have the space to build the skills, knowledge, and confidence that others may have absorbed earlier.

They meet their peers not only with raw talent, but with a clearer understanding of the full breadth of what the career actually demands.

It is small. Only a handful of places. But it is targeted, funded, and practical.

And that is a start.

There is also a related question sitting behind this, not just about different starting points, but about what conservatoire training itself needs to look like now. The demands of the profession have shifted, and what singers need to be equipped with is not quite the same as it was even twenty years ago. Another subject wroth returning to.

Were you ready for college?

We’d be really interested to hear your experience — did you arrive feeling prepared, or playing catch-up? You can share your thoughts at [email protected]

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Music Makers: In Conversation, with conductor John Andrews

Audition Oracle – Wed 15 Apr 2026 @ 0:38

Music Makers: In Conversation, with conductor John Andrews

In this series, we look beyond the formal lists of biographies and CVs to explore the repertoire artists return to, and the music they feel most deeply connected to.

Today we are delighted to share the responses of conductor John Andrews.

Piece you hum round the house / sing in the shower

To the extreme annoyance of my family, I don’t hum around the house, but rather I tend to grind my teeth to whatever’s in my head, and as a consequence can never remember it...

First piece you remember studying or conducting

I set myself to memorise the Beethoven, Brahms and late Mozart symphonies in my late teens (how my life has changed!) and it was probably the Eroica that I first put really concentrated effort into studying.

A piece/work you return to professionally

As a freelancer I don’t get a lots of choice in this but I love to come back to Dvořák’s Stabat Mater and Vaughan Williams’ Dona Nobis Pacem as often as I can get away with it. But my love of exploring new repertoire has tended to mean that I don’t get back to these pieces (and the operas of Mozart, Rossini, and the 19th-century symphonists) that often. But absence does make the heart grow fonder and the revisiting of them all the more rewarding.

Last piece of music you deliberately chose to listen to:

I find it difficult to listen for pure pleasure now, which I suppose is always the risk when you make your love your job. It will have been either Renaissance polyphony or jazz - something I’ll never be called on to have a professional opinion of...

Work you feel most emotionally connected to

Both Don Giovanni and Le nozze di Figaro were formative early experiences that I feel deeply connected to; also both the Fauré and Duruflé requiems are now linked to the passing of people very dear to me.

A work you would love to conduct one day

SO MANY! Boris Godunov, Lady Macbeth of Mtsensk, Die Walküre, Falstaff in the theatre. The Symphonies of Emilie Mayer and Grace Williams, The Elgar oratorios and the War Requiem; but I’m also always looking for the next discovery!

To find out more about the work of John Andrews, please visit his website → https://www.johnkandrews.com.

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