In her recent appointment to Britten Sinfonia, Imogen Whitehead became the first woman in more than a decade to hold a principal trumpet role in a major UK orchestra. Louise Hoffman catches up with her
Portrait by Matthew Johnson
It’s perhaps unsurprising that music would take a pivotal role in Imogen Whitehead’s life. She had talented amateur-musician parents who encouraged her in the art, and was fortunate enough to attend a state primary school that valued music – and was well resourced for it.
The defining moment came early, at age five. “My parents took me to a concert on the South Bank, where I had a chance to ‘meet the instruments’. I gravitated towards the trumpet and could immediately make a good sound,” Imogen recalls. Despite asking Father Christmas for ‘a real trumpet’ that same year, lessons were to begin two years later. She had an early grounding in piano too, but it quickly became evident which instrument would win her heart.
“I’m an identical twin, and my sister was keen to learn many different instruments growing up. I, on the other hand, was only ever interested in playing the trumpet,” Imogen explains. “I particularly love its vocal quality – I imagine that I’m singing through my instrument when I play – and I feel it’s my particular sound that sets me apart.
“The trumpet is also wonderfully versatile, both in terms of the genres that it covers, and the many types of trumpet that one plays as a professional – I now own 12 different instruments!”
Growing up, Imogen became a member of various ensembles through the Kingston Music Service before joining the Thames Youth Orchestra, which she remembers fondly as being a real highlight of her musical upbringing. Lessons with a local jazz trumpeter, Andy Bush, at age 11 also laid groundwork for the future. “He greatly expanded my musical horizons and always encouraged me to be the most well-rounded musician I could be,” she smiles.
Going pro
And so that future arrived, and Imogen’s childhood talent turned into a prestigious professional career. It has seen her perform with the London Symphony Orchestra, Royal Philharmonic Orchestra and English National Opera, as well as touring East Asia, Europe and, last year, Colombia with leading brass ensemble Septura. She’s performed in the West End and was in Netflix’s 2023 biopic Maestro, about Leonard Bernstein.
The trumpet has always been Imogen’s instrument of choice
“As a soloist, I’ve also premiered numerous pieces by composers such as Stephen Dodgson and Sally Beamish, commissioned for me by the Park Lane Group,” she adds. “I’ve always tried to maintain an equal balance of orchestral and solo playing.”
This year, however, has surely ushered in some of her biggest achievements yet, being conferred with Associateship of the Royal Academy of Music (ARAM) and now welcomed as principal trumpet into the ranks of renowned Cambridge chamber orchestra, Britten Sinfonia. It’s a highly esteemed position, with added resonance for Imogen as a woman musician.
“It feels so very special to have been appointed principal trumpet of Britten Sinfonia, particularly as it’s been many years since a woman has been offered a trumpet job in any orchestra in the UK,” she recognises.
“With such a large pool of brilliant female freelancers, it felt as though we were on the edge of change and, since this tipping point, there have been numerous female appointments to other trumpet sections across the UK. I hope seeing me in this prominent position will encourage younger players, and I hope to be a positive role model for them.”
One of the family
Having long admired Britten Sinfonia’s ethos, this internationally renowned orchestra is the perfect new home for Imogen. “It’s continually pushing the boundaries of what a chamber orchestra can do, with imaginative programming and brilliant collaborations that make for an exciting schedule. Recent highlights for me include working with Suzie and Jacob Collier and performing in King’s College Chapel, Cambridge,” she says.
Years of practice have earned Imogen some prestigious positions
“Britten Sinfonia also has an exceptional outreach department, which brings music to under-resourced areas in the east of England,” she continues. “I particularly enjoy playing for patients at Addenbrooke’s Hospital alongside my husband Rupert, who is a trombonist in the Royal Philharmonic Orchestra.
“There’s a real family feeling at Britten Sinfonia – the members are genuinely good friends and I was given a warm welcome from my very first day.”
Imogen’s first two solo spotlights with the orchestra are taking place this very month, and she can’t wait to take the stage. “It will be such a treat to perform alongside my colleagues and friends, who will be, quite literally, surrounding me with their support!” she enthuses. “Performing un-conducted adds an extra element of danger, but even more so a feeling of exhilarating freedom. I’m looking forward to working closely with our guest leader, Clio Gould, to steer the ship together. The two venues we’re performing at have very different acoustics, each with their own unique qualities. Norwich Cathedral will feel more boomy and expansive, while Saffron Hall will bring clarity and brightness.”
Personal connections
Imogen’s 2025 achievements don’t end there – and we’re not even halfway through the year! Her debut solo album Connection has just been released via YouTube and major streaming platforms – to rapturous applause. “It features eight works; I have a connection to each one,” says Imogen.
Imogen has just released Connection, her debut solo album
“Listeners can expect to hear pieces for both the trumpet and flugelhorn, accompanied by Britten Sinfonia and pianist Jennifer Walsh. The album encompasses many different facets of the trumpet, ranging from the quirky, spiky character of Sonatina for Solo Trumpet by Sir Peter Maxwell Davies to the flowing lines of Modlitwa by Roxanna Panufnik.”
Before we part, I’m intrigued to know which venues, of all the many around the world she has performed in so far, hold a special place in Imogen’s heart and soul.
“My favourite venue, and one at which I perform regularly, is St Martin-in-the-Fields in Central London. It’s a magical place, and I’m thrilled to have been appointed Artist in Residence with St Martin’s Voices for 2025. Abroad, Elbphilharmonie in Hamburg is an incredible, state-of-the-art hall with 360° audience seating and unparalleled facilities.
“I think it’s important to remember that connection with the audience is what makes a concert special,” she points out. “In 2020, during Covid-19, I performed at the BBC Proms to an empty Royal Albert Hall. Without the energy and anticipation of a live audience, the atmosphere was strange and absent. During lockdowns, my husband and I gave concerts in the street for our neighbours. These are some of my favourite musical memories and demonstrate that what makes live music so special is the bringing together of people to share a unique experience.”
