My portfolio includes performance coaching for all instrumentalists, singers, and chamber ensembles, and I am available for sessions both online and in person in the Greater London area.
All too often, in the preparation of repertoire, issues of technique can distract us from the possibilities of the music, narrowing our vision and aural imagination. Whilst technical mastery is an essential part of our musicianship, allowing us to perform with complete freedom and confidence, it is crucial that musicians develop a similar command of the musical material to allow them to see the potential present in the music, and produce cohesive, vivid, and above all, honest, interpretations, stemming from their personal relationship with the score. As such, I believe it is of great benefit for musicians to study and receive feedback from musicians of a different discipline, so that the focus is placed firmly on the communication of musical, rather than technical, truths.
At the heart of my activities lies this belief in the value of cross-disciplinary coaching. So often in instrumental tuition, teachers make reference to the capabilities or characteristics of other instruments, yet we rarely get the opportunity to learn from their practitioners. In the training of singers, on the other hand, it is common practice for students to see a vocal teacher, and a repertoire coach, who, crucially, is usually a pianist, and not a singer. Sessions with a repertoire coach focus on all issues except those of a technical nature, and, at their best, offer a space for singers to refine their interpretations and put their technique to the service of the music. It is precisely this element of a singer's training which I want to make available for all musicians, regardless of their instrument or discipline.
My teaching practice is based upon an analytical method which helps and encourages artists to evaluate all the available components of a score, whilst simultaneously building a framework of fundamental musical principles and stylistic awareness. Through this, I work to help artists create well-rounded and cohesive interpretations independent of technical concerns, as well as helping them to develop the necessary tools to cultivate an interpretative process that leaves room for inspiration, flexibility, and spontaneity on the concert platform.
I take great pride in coaching in a manner that is approachable and reasonable, yet always detailed and challenging. My goal is never to impose my own opinions on artists, nor to lead them to solidify or codify their interpretations. Rather, I strive to help artists penetrate and elucidate aspects of a musical score, opening their minds to new interpretative possibilities, and enabling them to make new and exciting choices.