Music was a passion of mine throughout my time at school in Dorset, not least because it excused me from less interesting academic lessons! I was a member of several county music groups, and it was whilst a member of these that I decided that music was something that I wished to pursue further: the experience of performing fantastic repertoire as part of an ensemble was not something that I wanted to leave behind after school.

After four enjoyable years at the Royal Welsh College of Music and Drama, I went on to complete a postgraduate at the Guildhall School of Music and Drama, graduating with distinction and in receipt of the Principal’s Prize. Upon completing my studies, I was a member of the London Philharmonic Orchestra Foyle Future Firsts scheme, where I was able to experience playing in a real world professional symphony orchestra, which I found to be a vital part of my further training. It was invaluable to be able to experience the inner workings and play along with such an exceptional body of musicians, and every day with them taught me something new.

I have built up an extremely varied freelance career, which has seen me perform with various ensembles, from symphony orchestras to German bands, wearing tails to Queen’s Guard uniform (and most recently dressed as an Oompa Lumpa). In addition, I enjoy regular teaching and ensemble coaching.

In my spare time, I like to get out into the country (Dorset is always calling to me), be it hiking or running. I have also recently got into photography, which I am teaching myself to master.


Guildhall School of Music and Drama
London, UK

Royal Welsh College of Music and Drama
Cardiff, UK


What is your favourite piece of music, and why do you love it?
Walton’s Symphony No.1 – I was lucky enough to perform it side-by-side with the London Symphony Orchestra whilst at college with Simon Rattle at the helm. A fantastic experience, and the piece is a trumpet player’s dream and nightmare all in one!

What do you think concerts of the future should look like?
I think a breakdown of the invisible barrier at the front of the stage between the orchestra and front row would be a good thing – after all, the orchestra are sharing the music they are making. I once saw the Orchestra of the Age of Enlightenment in the Festival Hall and Sir Roger Norrington did a full 360° swivel on his chair to grin at the audience during a particularly good bit.