With 11 years of teaching experience, both in Israel and in the UK, I’ve learned a great deal about different approaches to teaching, both in terms of singing methods and techniques, as well as the more practical and psychological approaches.

 

By familiarizing myself with a variety of pedagogical and methodological environments I have become a well-rounded teacher, helping my students to become the best singers and performers they can be.

When I first came to the UK to train at Guildford School of Acting nearly four years ago, I was inspired to start reading and learning about the vocal anatomy, a field I didn’t know a lot about at the time. I participated in workshops and courses led by highly respected singing teachers such as Mary King, Mary Hammond, Anne-Marie Speed, Jeanie Lovetri, Michael Hill, Greg Enriquez and others to enrich my knowledge and to catch up with the latest discoveries of the field.

 

Though I was amazed but the amount of information that is available to us as singers and singing teachers nowadays, it was clear to me that my time in Israel focusing on classical singing has also given me many tools and insights that were very formative in establishing who I am as a performer, musician and teacher today.

 

Nowadays, having experienced both those approaches, I find myself adapting my teaching style to accommodate the students’ age, knowledge and background.

 

In my teaching style, I try to combine the different methodologies I’ve encountered (Bel-Canto, Estill, Laryngeal conditioning, CVT, Lovetri, SLS/IVS) to cater to my students’ needs. in my approach, there are no forbidden terminologies as long as the student is able to relate and understand what he is trying to achieve and how. I focus on finding an ideal posture for singing, engaging body parts that are not creating restrictions on the throat and working with the whole body to find grounding and vocal freedom.

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