In November-December 2025, I went to London three times to audition at the Guildhall School of Music and Drama, the Royal College of Music, and the Royal Academy of Music. I received an immediate offer from Guildhall – my first choice.
When preparing my programme, I tried to be deliberate. The criteria across these conservatoires are broadly similar: strong technical foundation, stylistic understanding, linguistic competence, and clear artistic potential. Certain languages and styles are expected, and in one of the auditions, having a piece with vocal agility was particularly recommended. I selected four arias that were clearly contrasted in language, period, and musical character. At the same time, they were all suitable for trouser roles or countertenor repertoire. That balance allowed me to show contrast without losing coherence in vocal identity.
Although Guildhall, RAM, and RCM operate within the same sphere and have interchangeable teachers, their educational cultures feel slightly different. There is a noticeable variation in how conservative their styles of education are – RCM, RAM, and Guildhall each have their own atmosphere. RAM feels structurally traditional, RCM highly polished and performance-focused, and Guildhall somewhat less conservative in approach, with a strong integration of music and drama. The differences are subtle, but they shape the environment.
The audition format was similar at all three institutions. There was a short session with the pianist, followed by the first round in front of the panel. After that, candidates waited to hear whether they would be invited to stay for a second audition. The transition from first to second round is where most applicants are cut; progressing is relatively rare. I was invited to second rounds at Guildhall and RCM.
The panels themselves were supportive and professional. The atmosphere was serious, but not hostile. It was clear they wanted to see each candidate at their best.
There were, however, some differences in structure. Guildhall required a memorised monologue in the second round; I performed AM’s hate monologue from I Have No Mouth, and I Must Scream. RCM had a particularly quick turnaround between first and second auditions. RAM did not hold a second singing round in the same way; instead, selected candidates were invited to interview. I was not offered that interview.
In terms of performance, I think I sang very well at Guildhall and RCM. I felt vocally secure and dramatically focused. On the day of my RAM audition, I was unwell, and it did affect my performance. I also recognise that my preparation could have been more rigorous — I was still finalising memorisation only days before the auditions, which added unnecessary pressure.
Looking back, I would structure my preparation more strictly and ensure that memorisation and theoretical work were fully consolidated earlier. That said, I am proud of how I handled the rooms themselves.
Being accepted to Guildhall is both exciting and slightly daunting. Guildhall School of Music & Drama, based at the Barbican in London, is one of the UK’s leading conservatoires and is known for integrating music and dramatic training. In my first year, I will study principal singing, opera scenes, languages, acting, movement, theory, aural skills, ensemble work, and keyboard skills. I know I will need to strengthen my music theory significantly and commit seriously to developing my piano skills to the required standard.
Over the summer, I plan to consolidate theory, maintain my languages, and establish a consistent piano practice routine.
Although I was not accepted at RAM or RCM, I am very pleased with the outcome. I am looking forward to beginning at Guildhall and to the level of work it will demand.
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