Since devoting myself to training for singing and stage I have been interested in the unique quality of vocal expression.
Alongside my artistic studies, I also trained as a teacher of classical music. I perfected this through work with a number of singing teachers (I. Uibek. N. Seemer), while taking part in seminars and master classes.
I was extremely interested in the voice’s technical-functional resources in yodeling, overtone singing and in pop, rock and jazz. In various workshops (CVT, yodeling, etc) I acquired the necessary knowledge and completed the Estill Voice Training Level One/Two.
Learning how to speak on stage is a component of every singer’s training. Through my work in musical theatre for children and in my dramatic recitals I have been able to gain a deeper understanding of the voice’s capabilities.
I discovered useful new pathways to achieving authentic expression in speaking and singing by taking part in improvisation seminars, training for a healthy stage fright and body techniques (Feldenkreis, Alexandertechnique, Thai Chi, Qi Gong, Yoga, Pilates).
These important practical experiences all converge in my work as singing teacher and voice coach. Theory and practice applied in balanced proportion.
I studied music at the “Hanns Eisler” Conservatory Berlin. My operatic debut was in the part of Marzelline in Beethoven’s Fidelio on the stage of the Theater-Vorpommern. A series of important roles have marked my singing career including Susanna from Le Nozze di Figaro, by W.A. Mozart, Gretel from Hänsel und Gretel by E. Humperdinck, Maleen from Jungfrau Maleen by M. Baumgartl (world premiere), Isot from Le Vin herbe by F. Martin and the Queen of the Night from Mozart’s The Magic Flute. At the same time I worked on developing a comprehensive repertoire from Bach’s Passions and Canatas, through Handel’s Operas and Oratorios to Philipp Glass Hydrogen Jukebox.
My theatrical song recitals of Goethe “Bewundert viel und viel gescholten” or H Purcell “When a man loves a woman” entranced both enthusiasts and newcomers to this genre. A particular joy of mine has been musical theater for children. Musical collaboration with the Neubrandenburger Philharmonie, the Concerto Brandenburg, the Ensemble Oriol and the Ensemble Kreativ are some of the important milestones in my artistic work.
I currently playing together with Masahiro Sekine (flute) in a duo devoted seldom heard pieces written after 1920. The human voice has become my passion and in my musical and dramatic performances I seek to explore its possibilities and while managing to delight my listeners with wit and charm.