My teaching approach
Through the developing of my private practice, I am becoming increasingly interested and deeply passionate about teaching singing and singing pedagogy. For me, music – and especially singing – is all about communication, between performer and audience, between composer and performer/audience, between teacher and student; it is about conveying a story and human emotions that people can relate to and that give us a sense of connection and belonging. This requires not only a deep understanding of technical skills, but also a sensitivity to the text and the way it is set into music, both melodically and harmonically.
In my teaching, I am deeply committed to:
looking at the student as a whole,
imparting a solid vocal technique and musical understanding,
instilling confidence, creativity and a positive can-do attitude.
I love watching a student grow and facilitating their development and helping them on their own path. The most important thing to me is that they enjoy using their voice and telling a story through music.
My own skills are continually developing through observing my own teacher in her studio and regularly discussing performances and lessons in great detail. I read extensively about singing technique and teaching singing, engage at events of the British Voice Association and at the International Congress of Voice Teachers (2017). As part of my physical practice, I go to regular Yoga and Feldenkrais Method classes. This has inspired the topic of my master’s thesis with a focus on how to best complement young singers’ vocal training at conservatoire with bodywork practices such as Alexander Technique, Feldenkrais Method, Yoga or Pilates. Over the last year, I have been part of a weekly meeting exploring performance anxiety through breath work and meditation.
Growing up bilingually with German and Swedish, I have also done language coaching for Trinity Laban Opera Scenes and fellow students in their lessons and group classes.