Gradus ad Parnassum

Light The Torch... ...And Follow The Path... ...To The Summit


Stepping Stones The Gift Accolades An Artist's Life An Artist's World
Contact Elizabeth Powell

The qualities and experience described in her biography make Elizabeth Powell an impeccable judge of performance and potential and a rich source of guidance, example and information in developing and nurturing both. She is very clear that early promise, however remarkable, only opens the way, that dedication is indispensable to keep the way open but beyond that, reaching the destination as a performer means developing the artistic assurance and authority audiences respond to.

The confidence young players need to bring out these qualities in themselves builds more easily with teachers whose own career and personality are inspirational, who see and encourage the emergence of these attributes in the next generation. Elizabeth Powell is eminently placed for aspiring performers to draw on the essence of her artistry as they develop their own gifts and reach towards maturity.

Elizabeth Powell coaching her student Bradley Evans at rehearsal with Patrick Thomas and the Sydney Symphony Orchestra for his winning performance at the NSW State Final of the 1984 A.B.C. Young Performers Award.

Here are some of the crucial needs that she continually observes in her work of assessing applicants, competitors and examinees and teaching secondary and tertiary (undergraduate and postgraduate) level students. She welcomes opportunities to work with individuals and groups on any or all of them.

Focus of Attention

  • Forming realistic expectations.
  • Setting goals.
  • Building technical proficiency.
  • Instituting effective methods of practice.
  • Choosing works and expanding the repertoire.
  • Understanding the cultural background and stylistic form of the repertoire.
  • Widening and deepening the scope of musical knowledge.
  • Refining critical appreciation of performances, one's own and others'.
  • Preparing the performance (privately or under simulated conditions).
    • practising the performance programme.
    • acquiring and practising the elements of on-stage performance presentation, particularly comportment and appearance.

© 2007 Elizabeth Powell