My teaching is very much informed by my experience of hearing countless singers each year in an audition & competition context, many of whom, for various reasons, fail to make the desired impact. 

As singers, we are so often fixated with achieving particular results that we don’t truly manage to be in the moment. Because of this, a primary focus of my work is to explore how we can shift from “controlling the results” to “taking control of the process”. 

As an efficiently functioning, well-calibrated technique is the indispensable basis for any sustainable singing career, singers often focus on technique in isolation. To my mind true (authentic) artistic expression is rarely integrated early enough into the technical process. 

In my teaching I am interested in how we apply our technique in a musical context as a means of giving voice to our individual artistry. The vocalism of language is central to my work: how we use words not only to express but in order to achieve a genuine legato et cetera. Sound alone is rarely the key.

I believe there is no one model of teaching “to fit all” – lessons are about finding a common language in a supportive environment that enables us to evolve and understand more. 

A further priority of mine is to support students in compiling a coherent and personally representative audition list that also functions in a range of contexts.

In terms repertoire, I have a real affinity for the music of the early nineteenth century in particular Rossini, Donizetti and Bellini (probably stemming from my fascination with freedom of breath as the basis of all expression) and German operatic and Lied repertoire of the nineteenth and twentieth centuries – the music that is still central to my performance career.

To find out more or book a consultation session in Amsterdam or Berlin please email: mcauditiontraining@gmail.com