With over 15 years of experience in teaching and coaching both professional singers and voice students, I can help you to prepare your repertoire in German, Hungarian and Yiddish; from Bach through Bartók to Gebritig – my aim is to help singers to reach artistic mastery thourgh thorough understanding, clear diction and individual interpreatation of their repertoire.

Everything starts with a thorough understanding of the text. Beyond the meaning of single words, singers need to understand the background and intention of the text the composer decided to set. Who wrote it? When? Why? For whom? Equipped with this knowledge, you can set out to make the text truly your own.

Singers regularely need to sing in languages they don’t speak or sometimes even understand. Mastering the given language is helpful – but not a requirement.

Still – it is important to polish your diction to perfection not only to sound intelligible to those that actually do understand the language but also because the sound of the text is part of the music, part of the soundscape intended by the composer.

Depending on the availible time and your goals, I can

• teach you how to become independent in your preparation of German, Hungarian or Yiddish repertoire by understanding of the rules of pronunciation and learning how to enunciate the sounds of the given langauage.
• coach a given piece to perfection e.g. for an audition or a recording;
• train you in a piece or operatic role even in Hungarian or Yiddish until it sounds convincing.

Clear diction starts with the understanding of the rules of pronunciation and learning to enunciate the sounds of the given langauge but it does not stop there. I coach singers to convey the text clearly, while realizing a wide range of dynamics and vocal colors, by understanding the technical mechanisms of healthy singing in general and articulation in particular. This gives singers the tools to convey their individual interpretation of the piece and ensure healthy singing on the long term.

If you are preparing for an audition you need to have worked out a few pieces to perfection. I am happy to help you chosing and preparing this repertoire.
Mind that often spoken texts, such as monologues or poems, are required in auditions, especially in Germany. It is important to chose a piece that fits your personality and reflects your artistic profile.
After perfecting your diction, we can work out the intonation and phrasing, as well as the changing dynamics and tempi, in order to convey your artistic interpretation of the spoken text.

Working face-to-face is beyond doubt more effective and pleasant than online. However, if necessary, coaching can work quite well online, especially in the initial phase of repertoire study. There are several options from working via digital platforms to sending recordings back an forth, and experience shows that ususlly a combination of several works best. Contact me to discuss the options.

I enjoy working with choirs to help them achieve clear diction and convincing interpreatation by working on pronunciation and enunciation, timing, phrasing and colors. I have been working with such outstanding ensembles as the Netherlands Radio Choir (Groot Omroepkoor) and Consensus Vocalis, coaching them on diverse repetroire from Bach cantatas through Schönberg to operas of Mozart and Korngold.

As German language coach at the Nationale Reisopera and formerly at the Dutch National Opera Academy, I had the pleasure to coach productions of Beethoven’s Fidelio, Mozarts’s Zauberflöte, Humperdinck’s Hänsel und Gretel, Korngold’s Die tote Stadt, Die stumme Serenade and Das Wunder der Heliane. I enjoy being part of the production process by sitting in rehearsals and providing feedback to the singers as well as supporting them in their preparation during individual meetings.