Coaching Singers and Actors

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 five 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. 

By relaying on the Bel-Canto traditions as they pass through the generations (and with far less anatomical knowledge), teachers in Israel trained many successful singers. One example is my former teacher Mrs. Anat Efraty, achieved a successful career at the Vienna Staatsoper by learning from other great singing teachers and by applying vocal ideas such as ‘Chiaroscuro’, ‘Singing in The Mask’ and by practicing the Bel-Canto exercises that her masters have taught her throughout her career.
 
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 or she 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.
 

JAMD
JAMD
GSA
GSA
PPA
PPA
AMTA
AMTA
LTA
LTA
Urdang
Urdang