A multidisciplinary opera professional with extensive international experience, working with opera singers for over 25 years.

Diction coach for opera singers in Italian, German and Russian.

My philosophy

A coach is a mirror for the singer

Having a background as an opera singer myself, I strive to be the collaborative pianist I would have wanted to work with during my own professional journey: competent and precise, yet attentive, reliable, and respectful of each singer's individual process.

The singer who enters my studio often needs a mirror — not judgment, but clarity.
In my work, this mirror is three-dimensional: musical, linguistic, and vocal. Addressing these three levels in an integrated way allows the repertoire to settle in a more natural, coherent, and lasting manner.

Music, language and vocal technique

Music, language, and vocal gesture exist in a relationship of mutual dependence.
When the breath is interrupted, the musical phrase loses continuity; when the text lacks clarity, musical flow is compromised.

Many musical or intonational uncertainties arise not from isolated technical issues, but from an insufficient integration of textual rhythm, accentuation, and musical structure.
Very often, the most effective solutions emerge precisely through work on prosody and articulation, rather than through direct intervention on the voice.

Respect for individuality

Each singer represents a distinct artistic and vocal identity.
Respect for this individuality is a central principle of my work.

I do not intervene in vocal technique unless explicitly requested. Experience has taught me that a collaborative pianist must know when to intervene and when not to: unnecessary intervention can be harmful and counterproductive, compromising both the singer's time and energy.

Often, the music itself suggests the solution.

Breath as a foundation

As I conceive musical work, the essence of music lies in breath — the continuous movement of air.
Even the most expressive musical intention cannot emerge if this flow is interrupted.

Rediscovering the naturalness of breath and developing awareness of it allows singers to reconnect with their voice and musicality in a free, stable, and authentic way.

The psychological dimension of performance

Operatic performance implies exposure, responsibility, and pressure.
The quality of the result depends not only on musical preparation, but also on the mental and emotional conditions with which singers approach practice, rehearsals, and the stage.

In my work, particular attention is given to managing pressure, maintaining presence, and building a stable sense of trust in one's own work.
Many blocks that emerge in performance are not technical in nature, but arise from tension, expectations, or excessive control.

Creating a clear, reliable, and non-judgmental working environment allows singers to regain focus, calm, and expressive freedom, so that the music can flow without unnecessary obstacles.

Preparation and responsibility

Sight-reading is one of the fundamental tools of my work and allows me to operate immediately on a large part of the repertoire.
Nevertheless, I always prefer to study the scores in advance of meeting the singer.

This approach ensures an effective use of working time and allows the singer to gain the maximum benefit from each coaching session.