I’m a native of Berkeley, California and I joined the LA Philharmonic in 1985. Before that, I was a member of the Oakland Symphony and the Denver Symphony. 

I’m a mom, a wife, an animal whisperer, and have studied martial arts for many years. I also make jewelry! But my favorite activity is helping dedicated cellists learn how to prepare for auditions.

In my 25 plus years of serving on the audition committee for the Los Angeles Philharmonic, I’ve listened to a lot of candidates, for almost every instrument in the orchestra.

The analytical side of my brain is always listening for correct style, precise intonation, and rock solid rhythm. But the emotional side of my brain is hoping that the musician can connect with their inner selves and bring their best playing to the critical moment. Simply put, I’m always pulling for the candidates.

In my Audition Confidential courses, we study and discuss the technical, mental and artistic aspects of musical life. This is critical, since finding your way in the world of classical music can take a lot of time and work. And it’s important to remember that an orchestra is looking for a fully realized musician to hire.

I have many techniques and strategies I share to help students learn more efficiently than they have before. And I have all of the fingerings and bowings and tips on performance tradition for all of the excerpts. 

But I also have a host of strategies to train the mind. Because big challenges like auditions are more about the mental aspect than the technical for some people. We want to train our fingers and our brains to work in concert, not just for the audition but for our entire performing lives.

Musicians don’t have control over the outcomes of their auditions, but they can control how they prepare and how they show up. Knowing HOW to prepare and HOW to show up are the keys to a happier, more fulfilling life in the arts. In the end, if you can walk away from an audition knowing that you left it all out on the stage, then you have already won.