About
I am a singer, director, and voice specialist working at the intersection of performance, neuroscience, and embodied practice. My work is rooted in my experience as a performing artist and developed through years of teaching, coaching, and research into voice, perception, and wellbeing.
As a singer and director, I work across opera, musical theatre, and contemporary performance, with a particular interest in the relationship between voice, text, dramaturgy, and embodied presence. My artistic practice informs all of my teaching and coaching, grounding it in the realities of performance, rehearsal processes, and professional artistic life.
I hold degrees in Opera Studies (Conservatorio di Mantova Lucio Campiani), Musical Theatre (Royal Academy of Music), and Music & Neuroscience (Goldsmiths, University of London), and have undertaken advanced training in opera direction and vocal pedagogy in Italy and the UK, including Melofonetica Method for Teaching Italian for Singers. I currently teach at leading UK institutions, and coach singers, actors, and voice users internationally.
Working with my multisensory artistic practice, I have been the 2023 Artist in Residence at Brunel University, where I developed my practice-based research. As part of this residency, I curated an international exhibition on synaesthesia at the OXO Tower in 2023, curating a programme of diverse artworks in different artforms from over 40 artists from around the world, bringing together artistic research, multisensory practice, and public engagement.
I am the creator of the Embodied Voice & Perception Method©, a personalised, research-informed approach to singing, acting, and voice training grounded in neuroscience and multisensory embodied practice. The method supports performers and voice users in developing technical clarity, expressive freedom, and a sustainable relationship with their voice, while fostering deeper self-connection and wellbeing.
My work brings together artistic practice, pedagogy, and research, and is shaped by a belief that the voice is not only a technical instrument, but a site of perception, identity, and embodied knowledge.
