Nonetheless early in his profession, British conductor Riley Courtroom-Wooden is already establishing a compelling presence on worldwide podiums. At present the Leverhulme Conducting Fellow on the Royal Conservatoire of Scotland, he has labored carefully with main ensembles together with the BBC Scottish Symphony Orchestra, Scottish Opera and the Hebrides Ensemble. Following his award-winning look on the 2024 Tokyo Conducting Competitors – the place he obtained each Second Prize and the Viewers Prize – Courtroom-Wooden is poised for a major yr forward, with engagements that embody a return to Japan to conduct the NHK Symphony Orchestra and a debut with the Deutsches Symphonie-Orchester Berlin as a part of their ‘Rising Star’ sequence. With a background as an expert violinist and former appointments within the UK and the Center East, he brings a grounded musicianship and quietly charismatic authority to his work. On this interview, he displays on current milestones, inventive influences, and what continues to form his evolving method to the conductor’s craft.
Serenade Staff: Final October, you had been awarded each the Second Prize and the Viewers Prize on the Tokyo Conducting Competitors. How did that have form your method to conducting, and what did you’re taking away from it personally and musically?
Riley Courtroom-Wooden: It was an enormous honour to be a prize winner in Tokyo, and I felt extremely lucky, particularly because it was my first ever competitors. It’s all the time good to be appreciated for what you do, however I actually consider competitions are considerably of a lottery. In fact, I labored very laborious within the lead-up to the competitors, however many very proficient conductors had been knocked out in earlier rounds. So personally, it was a stunning little bit of validation, however I strive to not let it have an effect on me an excessive amount of by way of my work. For higher or worse, competitions have turn out to be a serious a part of the conducting world, particularly for younger individuals making an attempt to construct their careers. I perceive the necessity for them, however music isn’t like sport, with clear winners and losers.
ST: Your upcoming return to Japan to conduct the NHK Symphony Orchestra marks one other vital milestone. What repertoire will you be engaged on, and the way are you making ready for such a prestigious engagement?
RCW: The live performance can be a ‘prize winners’ present, so every of the three winners from final yr’s Tokyo Conducting Competitors will carry out a chunk. Hopefully it will likely be nice enjoyable and have a celebratory environment.
I will be performing Gershwin’s An American in Paris. It’s a extremely enjoyable showpiece and an excellent approach for all of the sections of the orchestra to shine. I’ve all the time had a tender spot for Gershwin, and I feel his early dying was one of many nice tragedies in music. I’d have cherished to have met him! By all accounts, he was nice enjoyable and really charming – which you’ll be able to undoubtedly hear in his music.
I strive to not focus an excessive amount of on the high-profile nature of the live performance or the truth that I’ll be working with a world-famous orchestra. All I can do is put together as completely as I all the time do – and luxuriate in it.
ST: As the present Leverhulme Conducting Fellow on the Royal Conservatoire of Scotland, you’ve collaborated with among the UK’s main ensembles. May you share a very memorable second or studying expertise out of your time with the BBC Scottish Symphony Orchestra or Scottish Opera?
RCW: My debut as conductor with the BBCSSO occurred simply after I returned from Tokyo final yr. That was a busy time! It was great as a result of we carried out within the stunning city of Oban, which is on the west coast of Scotland and fairly distant. I acquired the sense it was uncommon to have a symphony orchestra go to, so it felt like the entire city turned out! We additionally carried out in a neighborhood faculty for the scholars, which was very particular.
I’ve simply completed helping Scottish Opera with a double invoice of two operettas – Trial by Jury by Gilbert and Sullivan, and A Matter of Misconduct by Toby Hession, who was additionally the conductor. Toby is just about my age, so helping him was good enjoyable, particularly as he had written one of many items. He’s an especially proficient composer, and I feel we’ll all be listening to much more from him.
ST: You’ve labored carefully with famend conductors resembling Sir Donald Runnicles and Martyn Brabbins. What have you ever realized from these assistantships, and the way have they influenced your personal conducting type?
RCW: The assistantship with Runnicles was notably particular, because it was Bruckner’s Ninth with the BBCSSO. I like Bruckner, and that’s very a lot the core of Sir Donald’s repertoire. The best way he drew out the particular form of sound that music requires was extremely inspiring.
I’ve realized an enormous quantity from Martyn. In fact, he was the one who provided me the fellowship right here on the RCS, and it’s great to have somebody of his stature consider in me. One of many nice issues about Martyn is that he appears in a position to flip his hand to something. He has an infinite repertoire, which isn’t all the time the case with many conductors. I’ve additionally had the privilege of many classes with him, and he has an actual knack for instantly recognizing what wants fixing technically to ensure that the scholar to convey their musical thought extra clearly. I emphasise their, as a result of some lecturers fall into the entice of instructing their very own interpretation, which I consider is unhelpful.
There are such a lot of different conductors I’ve assisted from whom I’ve learnt an excellent deal. Funnily sufficient, I’ve additionally realized fairly a bit about what not to do by watching sure conductors – however I received’t point out any names!
ST: You started your skilled life as a violinist. How has that instrumental background knowledgeable your conducting, notably in your communication with string gamers and shaping orchestral sound?
RCW: My background as a violinist has been important to my conducting. I’m a ineffective pianist, so I nonetheless take into consideration music as a string participant! It’s actually useful by way of understanding bowing strategies and realizing the best way to make a string part sound cohesive. It additionally helps that almost all of the individuals sitting in entrance of you’re string gamers, so there’s a familiarity there which permits me to calm down.
Nevertheless, I feel the most important benefit of getting an orchestral instrument background is knowing the psychology of an orchestra. If you happen to’ve sat in an ensemble your self, you understand how vital it’s to talk clearly, not waste time – but additionally how boring taking part in in an orchestra can get if a rehearsal isn’t being managed nicely. Being an orchestral musician is a tough and sometimes tiring job, and I feel having first-hand expertise of that helps me empathise with the gamers.
ST: Trying again at your time learning at Guildhall and later on the Royal Northern School of Music, what had been some pivotal experiences or mentors that helped you make the transition from instrumentalist to conductor?
RCW: Once I was a youngster, I used to be concertmaster of my county youth orchestra in England, which was carried out by Colin Metters. On the time, Colin was nonetheless Head of Conducting on the Royal Academy of Music, and he was – and nonetheless is – very extremely regarded within the conducting world. Trying again, we had been extremely fortunate to have him conducting our little youth orchestra!
Whereas we had been on tour in Europe performing Dvořák’s Ninth, I discussed how fascinating I discovered his position in coaching the orchestra. I hadn’t actually carried out earlier than, however throughout a costume rehearsal, Colin simply mentioned, “Need to have a go on the finale?” He handed the baton to me and I carried out the final motion. Afterwards, he took me apart and mentioned one thing like, “Not unhealthy.” Quickly after, I started taking classes and attending masterclasses with him.
Once I began at Guildhall, all instrumentalists needed to research conducting of their second yr. I appeared to be the one one who genuinely loved it! I don’t suppose I used to be higher than anybody else, however these courses had been the spotlight of my week, and I felt relaxed and pure in entrance of a giant group of individuals. The encouragement and steerage from Colin, mixed with the realisation that I loved conducting greater than violin, led me very naturally to make the transition.
ST: As somebody who has now labored throughout Europe, the Center East, and Asia, how do you adapt your rehearsal strategies and communication when working with orchestras from completely different cultural and musical traditions?
RCW: That’s a really tough query to reply. I feel if I do alter, I do it subconsciously. I don’t actually suppose by way of nationwide variations – I simply attempt to really feel the vitality of a gaggle wherever I’m going. That tells me the best way to tempo a rehearsal, whether or not they favor a gentler method or extra directness, and so forth.
In fact, if I’m overseas and not sure of the extent of English, I would use fewer phrases and converse extra slowly – however to be trustworthy, I strive to try this wherever I’m.
Riley Courtroom-Wooden will return to Japan to conduct Gershwin’s An American in Paris on the Tokyo Worldwide Conducting Competitors Prize Winners Debut Live performance, to be held at Suntory Corridor on Thursday, 10 July 2025.
