A place to learn, question, experiment and grow.

For me, a conducting workshop is much more than an opportunity to stand in front of an orchestra. It is a place to listen, experiment, make mistakes, ask questions and discover new possibilities.

Every participant is, first and foremost, an individual musician.

Each person brings a different background, different strengths, different challenges and, above all, their own musical personality.

My approach begins with understanding the individual: where you are in your development, what you want to express musically, what may be holding you back and how I can help you take the next step.

Nobody is just a number.

I want to work with musicians who genuinely wish to learn. I value the quality of the work and the attention I can give to each participant far more than the number of people attending. I take seriously the responsibility that comes with someone’s decision to invest their time, energy and money in a workshop.

Teaching, for me, is a dialogue.

I don’t believe that there is only one right answer to every musical question. Listening to your ideas, exploring different possibilities and being willing to reconsider my own perspectives are essential parts of the learning process.

I bring my experience, attention and curiosity. I ask you to bring your preparation, openness and willingness to explore.

Together, we explore how musical ideas become gestures, how gestures influence sound, and how listening and responding to the orchestra are just as important as giving instructions.

Making mistakes is not something to be afraid of: it is often where the most interesting discoveries begin.

Above all, I want the joy of making music to remain at the centre of everything we do. Serious work and genuine enjoyment are not opposites. They belong together.

My goal is not to shape you into a particular kind of conductor, but to help you develop your own musical voice.

No illusions. No shortcuts. No ready-made formulas.

I don’t believe that a few days in front of an orchestra can magically transform someone into a conductor. And I have no intention of selling that illusion.

This is not about learning to look like a conductor.

Conducting technique is essential. A gesture can be expressive, elegant, even theatrical — but its real value lies in what it communicates and the music it helps create. Technique should serve your own musical thinking, not replace it.

This is not a place for empty compliments.

Constructive criticism, offered with respect and genuine attention, is one of the greatest forms of support a teacher can provide.
In a world where compliments sometimes seems to be offered more readily than honest feedback, telling someone that everything is wonderful may feel reassuring — but it rarely helps them grow.

This is not about collecting minutes in front of an orchestra.

Time with musicians is precious, but quantity alone says very little about the quality of an educational experience. My priority is to make every minute in front of the orchestra meaningful. Twenty minutes of focused, thoughtful work may be more valuable than two hours spent conducting without a clear purpose.

And finally, a word about “Masterclass & Competition”.

I’ve often wondered whether adding the word “Competition” to a masterclass serves education as much as it serves marketing. The possibility of winning a prize can be a powerful incentive, appealing to our natural desire for recognition — and sometimes encouraging additional applications.
A prize may sound impressive in an advertisement.
But what is it really worth once the masterclass is over? Is it recognised beyond the organisers themselves? Does it open any meaningful doors?
These are questions I believe every young conductor should ask before investing their time and money.

I have nothing against competitions. Well-established competitions with genuine professional standing can offer valuable artistic opportunities, recognition and a meaningful step forward in a young conductor’s career.

I welcome ambition, determination and the desire to achieve great things. But an orchestra is not a tool for personal validation. Musicians are not there to serve a conductor’s ego. They are our artistic partners, and making music together should always remain at the centre of what we do.

The true value of a masterclass lies in what you learn and how much more you can give to the music.