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What to expect

A combination of warm-up exercises, belcanto vocalizzi and repertoire is to be expected - the proportions of these will of course depend on your needs and development.

The basis of a good technique is the real understanding of vocal anatomy - I use specific exercises to target different muscles, isolating them and in combination, so that the student gradually finds their autonomy as they gather factual information. This is often described as an American technique but I think it is just common sense!

The goal of the belcanto exercises is to learn (mentally, musically and physically) patterns that will often occur in repertoire, working at the same time on flexibility, extension and joining up registers - the key to a great legato and a sound that travels over an orchestra is... CONSISTENCY!

In terms of languages, I am fluent in English, French, Portuguese, Spanish, Italian and German, and also know how to read Russian, Czech, Finnish and Hungarian - bring whatever repertoire is YOUR repertoire. If you are not sure about your Fach - we will discover it!

I am a firm believer that there should be no difference between singing opera, oratorio, song or contemporary repertoire. In fact, my career is a big mixture of those genres and I just attack each piece as an isolated work of art, where you have to bring to light its sensibility, frame of sound, scope of colors and dynamics. It is very useful to focus on one style for a while as one works on consistency (for example Mozart soubrettes or Wagnerian Heldentenor roles), but variety keeps the voice fresh and supple!

I am happy to work at your speed - if you just need to prepare a role, competition, audition aria list or if you want to take your time to focus on technique - happy to adapt. You are an individual and it is your path that I will commit to embrace and help along!

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