Pedagogy & method
A teaching lineage that runs back to Kerstin Meyer — carried for four decades on stage, now passed forward in the studio.
I trained at the Opera College in Stockholm under Kerstin Meyer, received the Jenny Lind Scholarship in 1986, and walked from there into a career that took me through fourteen countries and over thirty principal roles. Four decades later I have returned to teach — and I went back myself to the Royal College of Music in 2021–2023 to study voice pedagogy in its deepest form. A voice learns throughout life. So does a teacher.
Everything begins with the air and what it's allowed to do. "Breathe deeply" is the wrong instruction. The right instruction is about letting the ribs release, the pelvis settle, and the direction of support follow the tone's goal. When breath is free, the rest is pedagogical work — not struggle.
The voice is carried by the whole body, not the throat. We work on a posture that is steady without being held, and on a freedom of movement that lets the music pass through you rather than bounce off you.
Italian, German, French, Swedish — each language's vowels have their own singability, and the consonants set the tempo of the phrase. I teach in five languages (Swedish, English, German, Italian, French) and we always work with the text as part of the sound — never as a final polish.
I still sing, in my sixth decade. That would not have been possible without a technique that respects the reality of ageing. In young singers I plant habits that last; with returners and adult students I help you build technique that will carry you through the whole of a life of singing.
We start with a short recording of where you are today — not a test, but a reference point. Then a few minutes of breath and body work. Then the central work: your repertoire, your challenge, whatever brought you here. I often demonstrate — I believe a teacher should be able to show what she asks for. We close with concrete exercises you can take home.
I work within classical vocal technique — opera, Lieder, oratorio, musical theatre with a classical foundation, classical Swedish art song. I don't accept students under 14, I don't teach pure pop styling, and I promise no quick results. If that's what you need, there are other paths. If you want technique that can carry a whole career — then you're in the right place.
In 2021–2023 I returned to the Royal College of Music to study voice pedagogy, and in parallel read pedagogy, psychology, biology, and ethology at Linköping University. The last thing I want to be as a teacher is a singer who teaches on autopilot after 40 years of experience. Challenging my own understanding makes me a better teacher — and, I hope, a more generous one.
Begin with a trial lesson. Thirty minutes, no commitment.