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Since October 2019
Instructor since October 2019
Translated by Google
Teaching of the lyrical singing,
From 168.12 C$ /h
With a beginner, I devote half of each course to technical work. I start the class with some body exercises to wake up the body and then follow up with breathing exercises. Once the body is awake and breathing has entered its cycle, I propose drumming exercises. First I make him sing vocalizations on the vowels that suit him well, then I add the consonants to these vowels. Consonants arouse sensations in the muscles of the face, make the lips vibrate and some help lift the soft palate.
Once the voice is turned on, I ask the student to sing while walking so that he finds a kind of flexibility in his body and he looks for his voice from the physical movements. This gives a movement, a game that engages the body. Thanks to this approach, the body is better mobilized and the abdominal muscles participate unconsciously in the work. This also helps him to perceive his center of gravity and awakens deeper support. During class, I often approach the student to check the muscular work and the opening of the ribs and back. I fix my attention on the jaw tension and I propose exercises that can solve this problem. Thus the voice begins to free itself by taking a richer tone and a rounder tone.
The course is dedicated to music learning and interpretation, incorporating technical elements as well as some vocalizations. In general, before choosing the program for the student, I take the time to get to know the type of voice of the student, his way of being, the characteristics of his personality to better adapt the genre of music and the directory. I often choose pieces that help to install the medium of the voice, especially taking into account the student's mother tongue. Having already worked on the medium of the voice, the student gradually begins to expand his vocal range. The touching and dramatic content of the chosen piece often pushes the student to engage physically and mentally in the song by expressing his own expressiveness.
Italian is the language of singing par excellence because it contains pure vowels. Thanks to the Italian repertoire, I'm working on the legato, on longer sentences as well as on the phrasing, on the spirit of the piece and on the dynamics of the piece to discover how the music really exists when all the elements are found.
Goals and objectives
• Purpose
I would like to share with my student the joy of singing, discovering his body, his voice, the pleasure of performing on stage (both in a choir and as a soloist).
• Goal
By remaining attentive to his desire and his aspirations, I would like to transmit to him a singing technique that will serve him as a starting point and that he knows that by increasing his singing and control abilities on himself the pleasure will be all the greater.
• Main objective
I would like that at the end of a year of work my student is able to manage his breath and learn to support his sentences in a consistent way to find the resonance of his voice by putting all this at the service of the interpretation through his own musicality.
• Specific objective
At the end of a year of work, I hope that my student will have obtained the sound of his voice in his natural tone. The autonomy of his work at home will be beneficial for his progress while continuing to go further in the discovery of music, its forms, its amenities and its dangers while cultivating its own curiosity.
Once the voice is turned on, I ask the student to sing while walking so that he finds a kind of flexibility in his body and he looks for his voice from the physical movements. This gives a movement, a game that engages the body. Thanks to this approach, the body is better mobilized and the abdominal muscles participate unconsciously in the work. This also helps him to perceive his center of gravity and awakens deeper support. During class, I often approach the student to check the muscular work and the opening of the ribs and back. I fix my attention on the jaw tension and I propose exercises that can solve this problem. Thus the voice begins to free itself by taking a richer tone and a rounder tone.
The course is dedicated to music learning and interpretation, incorporating technical elements as well as some vocalizations. In general, before choosing the program for the student, I take the time to get to know the type of voice of the student, his way of being, the characteristics of his personality to better adapt the genre of music and the directory. I often choose pieces that help to install the medium of the voice, especially taking into account the student's mother tongue. Having already worked on the medium of the voice, the student gradually begins to expand his vocal range. The touching and dramatic content of the chosen piece often pushes the student to engage physically and mentally in the song by expressing his own expressiveness.
Italian is the language of singing par excellence because it contains pure vowels. Thanks to the Italian repertoire, I'm working on the legato, on longer sentences as well as on the phrasing, on the spirit of the piece and on the dynamics of the piece to discover how the music really exists when all the elements are found.
Goals and objectives
• Purpose
I would like to share with my student the joy of singing, discovering his body, his voice, the pleasure of performing on stage (both in a choir and as a soloist).
• Goal
By remaining attentive to his desire and his aspirations, I would like to transmit to him a singing technique that will serve him as a starting point and that he knows that by increasing his singing and control abilities on himself the pleasure will be all the greater.
• Main objective
I would like that at the end of a year of work my student is able to manage his breath and learn to support his sentences in a consistent way to find the resonance of his voice by putting all this at the service of the interpretation through his own musicality.
• Specific objective
At the end of a year of work, I hope that my student will have obtained the sound of his voice in his natural tone. The autonomy of his work at home will be beneficial for his progress while continuing to go further in the discovery of music, its forms, its amenities and its dangers while cultivating its own curiosity.
Extra information
. Pose of voices
. Mastery of the breath
. Good posture
. Finding the anchor in the body
. Control of the abdominal and transverse muscles in the support of the voice and the engagement of the perineum in the emission of sound
. Learning the repertoire in different styles
. Learning in partition reading
. Choral score preparation aid (for amateur choristers)
. Mastery of the breath
. Good posture
. Finding the anchor in the body
. Control of the abdominal and transverse muscles in the support of the voice and the engagement of the perineum in the emission of sound
. Learning the repertoire in different styles
. Learning in partition reading
. Choral score preparation aid (for amateur choristers)
Location
At teacher's location :
- Avenue de Champel, Genève, Suisse
About Me
After completing my studies at the Komitas State Conservatory of Yerevan, I had the opportunity to study at the University of Music of Lausanne in the class of Brigitte Balleys and I obtained the Master's degree in Interpretation and the Vocal Teaching Master's degree. My dual training and my years of development in two countries allowed me to develop my artistic sensibility and my pedagogical knowledge according to different cultures (Armenia and Switzerland).
During my studies I had the opportunity to work with renowned professors as well as with world famous artists (see the CV / Training / Master Course). These experiences and meetings allowed me to perfect myself both in teaching and in interpretation. During these years, I participated in various educational programs in Armenia (technical teaching of singing and work on French diction with young singers at Sayat Nova School in Yerevan) and in Switzerland (replacements in the classes Catherine Pillonel Bacchetta, Francine Acolas, Delphine Gillot at the Conservatoire de Lausanne).
My experiences in the field of teaching have shown me that I could easily establish constructive contact with the student. I perceive their needs and aptitudes and that allows me to answer them effectively. Living in a multicultural country, I find it very important to take into consideration the cultural factor while listening to the student.
Thanks to this dual training and these experiences in teaching, I think I am able to ensure the care of students of all levels and all ages by providing them with my professional skills. My goal is to give them a taste for music and artistic creation, by stimulating their skills to allow them to express themselves through music.
I adapt easily to different professional and cultural environments. Being able to express myself in several languages (see the CV / Knowledge of languages) facilitates this adaptation. Finally, I have great pleasure to teach and thus to participate in the evolution of each student.
During my studies I had the opportunity to work with renowned professors as well as with world famous artists (see the CV / Training / Master Course). These experiences and meetings allowed me to perfect myself both in teaching and in interpretation. During these years, I participated in various educational programs in Armenia (technical teaching of singing and work on French diction with young singers at Sayat Nova School in Yerevan) and in Switzerland (replacements in the classes Catherine Pillonel Bacchetta, Francine Acolas, Delphine Gillot at the Conservatoire de Lausanne).
My experiences in the field of teaching have shown me that I could easily establish constructive contact with the student. I perceive their needs and aptitudes and that allows me to answer them effectively. Living in a multicultural country, I find it very important to take into consideration the cultural factor while listening to the student.
Thanks to this dual training and these experiences in teaching, I think I am able to ensure the care of students of all levels and all ages by providing them with my professional skills. My goal is to give them a taste for music and artistic creation, by stimulating their skills to allow them to express themselves through music.
I adapt easily to different professional and cultural environments. Being able to express myself in several languages (see the CV / Knowledge of languages) facilitates this adaptation. Finally, I have great pleasure to teach and thus to participate in the evolution of each student.
Education
Musical formations
2012-2013 High School of Music Lausanne (HEMU)
Department of Singing, Gary Magby Class
Certificate of Advanced Studies (CAS)
2010-2012 High School of Music Lausanne (HEMU)
Department of Chant, class of Brigitte Balleys
Vocal Teaching Master's degree
2008-2010 High School of Music Lausanne (HEMU)
Department of Chant, class of Brigitte Balleys
Master's degree in Vocal Interpretation
2014-2016 State Conservatory of Yerevan
Department of Vocal Music and Theory
Susanna Martirossyan's Class
Post-Grade
1999-2014 State Conservatory of Yerevan
Department of Vocal Music and Theory
Ashkhen Tadevossyan Class
Honorary Diploma
Master classes
2012 Master Class with John FIORE, Lausanne
2012 Master Class with Helmut DEUTSCH, Lausanne
2011 Master Class with Tome KRAUSE, Münster
2010 Master Class with Mirella FRENI, Modena
2010 Master Class with Crista LUDWIG, Lausanne
2009 Master Class with Edda MOSER, Geneva
2009 Master Class with Dail DUSING, Lausanne
2008 Master Class with Jesus LOPES COBOS, Lausanne
Around Mozart's opera "Così fan tutte" (role: Fiordiligi)
2007 Master Class with Teresa BERGANZA, Geneva
Experiences in teaching
2013 Replacements at the Conservatoire de Lausanne
2013 Chanting teacher at the "Croqu'Notes" music school, Versoix, (GE)
2012-2015 Singing teacher at the "La Saltarelle" music school, Pully (VD)
2006-2008 Singing teacher at the Sayat Nova School of Music, Yerevan (AM)
2012-2013 High School of Music Lausanne (HEMU)
Department of Singing, Gary Magby Class
Certificate of Advanced Studies (CAS)
2010-2012 High School of Music Lausanne (HEMU)
Department of Chant, class of Brigitte Balleys
Vocal Teaching Master's degree
2008-2010 High School of Music Lausanne (HEMU)
Department of Chant, class of Brigitte Balleys
Master's degree in Vocal Interpretation
2014-2016 State Conservatory of Yerevan
Department of Vocal Music and Theory
Susanna Martirossyan's Class
Post-Grade
1999-2014 State Conservatory of Yerevan
Department of Vocal Music and Theory
Ashkhen Tadevossyan Class
Honorary Diploma
Master classes
2012 Master Class with John FIORE, Lausanne
2012 Master Class with Helmut DEUTSCH, Lausanne
2011 Master Class with Tome KRAUSE, Münster
2010 Master Class with Mirella FRENI, Modena
2010 Master Class with Crista LUDWIG, Lausanne
2009 Master Class with Edda MOSER, Geneva
2009 Master Class with Dail DUSING, Lausanne
2008 Master Class with Jesus LOPES COBOS, Lausanne
Around Mozart's opera "Così fan tutte" (role: Fiordiligi)
2007 Master Class with Teresa BERGANZA, Geneva
Experiences in teaching
2013 Replacements at the Conservatoire de Lausanne
2013 Chanting teacher at the "Croqu'Notes" music school, Versoix, (GE)
2012-2015 Singing teacher at the "La Saltarelle" music school, Pully (VD)
2006-2008 Singing teacher at the Sayat Nova School of Music, Yerevan (AM)
Experience / Qualifications
KARINE, SOPRANO
Karine studies piano and singing at an early age. At only 15, she won several prizes in competitions and festivals held in her country, Armenia. She began her vocational training in singing at the Komitas Conservatory in Yerevan and finished her studies in 2004 in the class of Ashkhen Tadevossyan. She obtains her Master's degree with the congratulations of the jury. She then perfected with Susana Martirossyan while working at the Yerevan State Opera National Theater as a soloist.
In 2007, she participated in the 62nd Geneva Competition and reached the semifinal. Thanks to the support of the Friends of the Geneva Competition and the Hans Wilsdorf Foundation, she continues her studies at the University of Music of Lausanne in the class of Brigitte Balleys. She obtained a Master's degree in performance and a Master's degree in singing. She also obtained a Certificate of Advanced Studies from Gary Magby. She has also taken master classes with internationally renowned musicians such as Teresa Berganza, Dail Duzing, Edda Moser, Christa Ludwig, Mirella Freni, Tom Krause, Helmut Deutsch and John Fiore.
From 2008 to 2011, Karine performs in Switzerland at the Victoria Hall in Geneva, at the Montreux Auditorium Stravinsky, the Cathedral of Lausanne, the Freiburg Cathedral. In concert, she performs Beethoven's 9th Symphony, Mozart's "Messe en C minor" and Brahms's "Ein deutsches Requiem" conducted by Michel Corboz. On stage opera, she plays the role of Donna Anna in "Don Giovanni" directed by Ivan Törzs and that of Fiordiligi in the opera "Così fan tutte". She has also appeared in various live broadcasts of Radio Suisse Romande such as Les Masters sur les Ondes and La Tribune des Jeunes Musicians, accompanied by pianist Todd Camburn.
From 2012 to 2013, Karine holds one of the leading roles in the creation "The Orpheus Syndrome", which is a collaboration between the Vidy-Lausanne Theater and Studio SounDrama of Moscow, under the direction of the director, Vladimir Pankov. This participation took her to Lyon as part of the Festival "Les Nuits de Fourvière", at the Théâtre de l'Archipel in Perpignan, at the Trident de Cherbourg, at the Equinoxe de Châteauroux, as well as at the Pushkin Theater in Moscow, at the National Opera of Samara, Theater of the Dramatic Art of Yekaterinburg as part of the A. Chekhov International Festival of Moscow.
In 2014, Karine sings the solo soprano part in Carl Orff's "Carmina Burana" at the Marive Hall, Yverdon-les-Bains. In 2015, she sang Annina's role in Verdi's opera La Traviata at the Lausanne Opera. She also holds the solo soprano part in Beethoven's Ninth Symphony performed by the Lausanne Opera and Ballet Béjart.
In 2016, she sang the solo soprano part in Mozart's Requiem, Fauré's and Verdi's Messa da Requiem, at Victoria Hall in Geneva. In 2016, Karine plays the role of Mimi in G. Puccini's "La Bohème" at Victoria Hall in Geneva and sings the part of the 1st solo soprano in Mozart's "Great Mass in C minor".
In 2017, Karine sings the role of Micaëla in G. Bizet's "Carmen" opera at Victoria Hall under the direction of Benoit Willmann at the Victoria Hall.
In 2018 and 2019, Karine sings the first soprano part in Mozart's "Great Mass in C minor", the solo soprano part in Mozart's "Requiem", as well as Beethoven's "9th Symphony" in Victoria Hall. Geneva and the Auditorium Stravinski Montreux.
She performs regularly in solo recitals and duet with her twin sister Armine, participating in numerous festivals in Switzerland, France, Russia and Armenia.
Karine studies piano and singing at an early age. At only 15, she won several prizes in competitions and festivals held in her country, Armenia. She began her vocational training in singing at the Komitas Conservatory in Yerevan and finished her studies in 2004 in the class of Ashkhen Tadevossyan. She obtains her Master's degree with the congratulations of the jury. She then perfected with Susana Martirossyan while working at the Yerevan State Opera National Theater as a soloist.
In 2007, she participated in the 62nd Geneva Competition and reached the semifinal. Thanks to the support of the Friends of the Geneva Competition and the Hans Wilsdorf Foundation, she continues her studies at the University of Music of Lausanne in the class of Brigitte Balleys. She obtained a Master's degree in performance and a Master's degree in singing. She also obtained a Certificate of Advanced Studies from Gary Magby. She has also taken master classes with internationally renowned musicians such as Teresa Berganza, Dail Duzing, Edda Moser, Christa Ludwig, Mirella Freni, Tom Krause, Helmut Deutsch and John Fiore.
From 2008 to 2011, Karine performs in Switzerland at the Victoria Hall in Geneva, at the Montreux Auditorium Stravinsky, the Cathedral of Lausanne, the Freiburg Cathedral. In concert, she performs Beethoven's 9th Symphony, Mozart's "Messe en C minor" and Brahms's "Ein deutsches Requiem" conducted by Michel Corboz. On stage opera, she plays the role of Donna Anna in "Don Giovanni" directed by Ivan Törzs and that of Fiordiligi in the opera "Così fan tutte". She has also appeared in various live broadcasts of Radio Suisse Romande such as Les Masters sur les Ondes and La Tribune des Jeunes Musicians, accompanied by pianist Todd Camburn.
From 2012 to 2013, Karine holds one of the leading roles in the creation "The Orpheus Syndrome", which is a collaboration between the Vidy-Lausanne Theater and Studio SounDrama of Moscow, under the direction of the director, Vladimir Pankov. This participation took her to Lyon as part of the Festival "Les Nuits de Fourvière", at the Théâtre de l'Archipel in Perpignan, at the Trident de Cherbourg, at the Equinoxe de Châteauroux, as well as at the Pushkin Theater in Moscow, at the National Opera of Samara, Theater of the Dramatic Art of Yekaterinburg as part of the A. Chekhov International Festival of Moscow.
In 2014, Karine sings the solo soprano part in Carl Orff's "Carmina Burana" at the Marive Hall, Yverdon-les-Bains. In 2015, she sang Annina's role in Verdi's opera La Traviata at the Lausanne Opera. She also holds the solo soprano part in Beethoven's Ninth Symphony performed by the Lausanne Opera and Ballet Béjart.
In 2016, she sang the solo soprano part in Mozart's Requiem, Fauré's and Verdi's Messa da Requiem, at Victoria Hall in Geneva. In 2016, Karine plays the role of Mimi in G. Puccini's "La Bohème" at Victoria Hall in Geneva and sings the part of the 1st solo soprano in Mozart's "Great Mass in C minor".
In 2017, Karine sings the role of Micaëla in G. Bizet's "Carmen" opera at Victoria Hall under the direction of Benoit Willmann at the Victoria Hall.
In 2018 and 2019, Karine sings the first soprano part in Mozart's "Great Mass in C minor", the solo soprano part in Mozart's "Requiem", as well as Beethoven's "9th Symphony" in Victoria Hall. Geneva and the Auditorium Stravinski Montreux.
She performs regularly in solo recitals and duet with her twin sister Armine, participating in numerous festivals in Switzerland, France, Russia and Armenia.
Age
Children (7-12 years old)
Teenagers (13-17 years old)
Adults (18-64 years old)
Seniors (65+ years old)
Student level
Beginner
Intermediate
Advanced
Duration
30 minutes
45 minutes
60 minutes
The class is taught in
French
English
Russian
Italian
Armenian
Skills
Availability of a typical week
(GMT -05:00)
New York
At teacher's location
Mon
Tue
Wed
Thu
Fri
Sat
Sun
00-04
04-08
08-12
12-16
16-20
20-24
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