Beautiful singing is the result a lifetime's dedication and knowledge. Unfortunately we live in a world where our media expound the dangerous falsehood that talent is god-given, thus requiring little work. Nothing could be further from the truth. In the opera industry (as in the world of popular music), young people with voices of exceptional quality often shoot to the top for a couple of years and then disappear, never to be seen or heard again.

I have spent the last fifteen years of my life as a successful professional singer in London. In that time I have had to confront all sorts of issues pertaining to my voice and identity (bad repertoire choices, tyrannical conductors, loud orchestras, insane productions, mad vocal writing, poor career advice, singing when sick, etc). It is only through these challenges that I have learnt to appreciate the importance of a "bulletproof" vocal technique.

I have been fortunate to study with a number of distinguished Voice Professors (Janice Chapman, Rudolf Piernay, Julian Gavin), as well as singing alongside some of the most exceptional artists of our time. The one thing which underpins the work of any trustworthy pedagogue is a sound knowledge of vocal function and anatomy, as well as the ability (visually, aurally and through touch) to recognise and correct faults of sound production. The voice lives within the body of the singer, and is thus in a state of constant change and development. Every singer, regardless of level, needs a trusted set of ears to maintain optimal function.

My approach to teaching is that every idea must be underpinned by a sound knowledge of vocal mechanics. I translate this information into simple-to-understand terminology as fits the particular student. The truly fantastic thing about the extraordinary advance in the study of vocal anatomy over the past 30 years is that we can now give accurate, anatomically-correct labels to so many of the "concepts" which were espoused by the teachers of the old Italian Bel Canto school. Supposition has been removed from the teaching process.

In addition to technical advice, I have a great knowledge of the operatic literature, especially for the tenor voice. I have sung a massive repertoire ranging from the baroque to the present day, and am more than willing to share this experience. I also have expertise with the assessment and guidance of transitioning voices making the perilous step from baritone to tenor.

It is my intention to pass this knowledge to the next generation of aspiring professional singers.

I may be contacted here

I teach from a studio in Central London or at my home in Farnborough, Hampshire.