To mark World Pianist Day, we are spotlighting our longtime pianist, David Smith, as he celebrates an incredible 25 years at The Royal Ballet School this year. 

How old were you when you learned to play piano?  

I had my first piano lessons quite late at age 10, but my inspiration was instantaneous. I remember watching the BBC Promenade concerts one summer and hearing the wonderful concert pianists of the day play concertos. From that moment, I was hooked. I asked my parents for piano lessons. They were wonderfully supportive and found me the best local teacher in the area. I had to audition for her; such was the demand for lessons. I absolutely loved it, and music became an all-consuming part of my life.  

I was given a wonderful collection of vinyl records from a family friend. It was an amazing collection of symphonies, concertos, quartets, trios, operas and ballets that fuelled my passion for music. I had a wonderful recording of Herbert Von Karayan conducting the Tchaikovsky Ballet Suites: Sleeping Beauty, Swan Lake and The Nutcracker. It’s amazing to think how much I have enjoyed playing for the School’s rehearsals of The Nutcracker over the past 25 years. 

When did you decide to pursue music professionally? How did you get involved in playing for ballet classes? 

I decided to pursue music professionally when I received my place on the performer course at the Royal Academy of Music. I was thrilled to study there, and it made me very proud to think that my first teacher, Ella, had studied at the institution, too. 

But before I started my professional studies in music, I actually worked weekends as a ballet pianist at a local ballet school from age 16. When I became a student at the Royal Academy at 18, I also played classes at West Street Ballet School in Covent Garden. 

I was a good sight-reader and quickly became familiar with what was required for ballet classes. I enjoyed it and met a lot of wonderful ballet teachers along the way, including Julia Farron, Nancy Kilgour, Anita Young, David Yow and Judy Maiden. I also played for London Children’s Ballet, The Cecchetti Society and free company classes for English National Ballet with David Wall and London City Ballet under Harold King. I started playing for the School’s Associate Programme, headed by Nicki Katrak in 1999, then, in September 2000, I started working at the School full-time. 

Do you have any mentors who helped shape the musician you are today? 

In my early 20s, Paul Roberts and Philip Fowke, my professors from the Guildhall School of Music and The Royal Academy of Music, helped mentor and shape the musician I am today.   

However, I think it’s a collective effort. As a ballet pianist, you need to be able to motivate and shape your own style. All the ballet pianists I know, both at the School and from a wider circle, have their particular way of playing for ballet class, adding their own individuality and magic to the movement. Working with such a talented group of people over the years shapes and polishes your sense of performance. 

What is your favourite part about being a ballet pianist?  

Having played for so many talented students and teachers over the years, I think the nice thing about being a ballet pianist is that you can see the dancers’ personal journeys, from students at White Lodge to professionals on stage. It’s an absolute delight when, years later, they come back to choreograph for the School shows or go full circle and come back to study on the teacher training course after finishing their stage careers.  

I also enjoy the performance element of the job: playing for the school at Opera Holland Park and many performance classes on stage at Sadler’s Wells for the UK Cecchetti Competition. 

Can you share any particularly notable memories from your 25 years at the School? 

On 8 March 2001, the School’s founder, Dame Ninette de Valois, died. I remember the whole school, the entire Royal Ballet company and guests from around the world gathered for a special memorial service at Westminster Abbey. It was a spectacular tribute that I will always remember.  

In 2014, I composed Scottish Suite, a trio for piano, violin and cello. We recorded the music with a sound engineer in the salon at White Lodge. Karen Berry choreographed three Scottish dances to the music. It was amazing to see this piece performed at the Linbury Theatre in the summer of 2015 by our students. 

I would like to share my gratitude to the School for celebrating and remembering my 25th anniversary here. I am very grateful, and I honestly don’t know where the time has gone.   

Listen to David’s Scottish Suite here: 

Header image: David in the orchestra pit at the Royal Opera House Main Stage