Testimonials

Testimonials

 

Irène Candelier

Lyrical singer (soprano),

Supervising teacher of the Sarkissian Method

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Anne-Elly Tévi

Singer (soprano),

Supervising teacher of the Sarkissian Method

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Florian Bisbrouck

Lyrical singer (baritone), graduated in singing from the 

Ecole Normale de Musique de Paris (Concertist Diploma)

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Dagmar Saskova

Lyrical singer (mezzo-soprano)

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Corentin Bournon

Graduated in psychology from the Université Paris Descartes, and now lyrical singer, having worked only with the Sarkissian Method

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Ania Wozniak

Lyrical singer (mezzo-soprano)

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Yoann Le Lan

Lyrical singer (tenor)

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Bobae Kim

Lyrical singer (mezzo-soprano) at the Opera of Lille,

choral conductor

 

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Tarik Bousselma

Lyrical singer (tenor),

member of the Ensemble Pygmalion

 

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Xavier Flabat

Lyrical singer (tenor), graduated in Political Sciences

from the ULB, Bruxelles

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Gwendoline Druesnes

Lyrical singer (soprano) at the Opera of Lille and 

Atelier Lyrique de Tourcoinggraduated in singing from the 

Conservatory of Paris (CRR, Concertist Diploma)

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Marie Nicot-Chagnollaud

Singer, actress,

Professor of Music Education, Paris

 

"Although I graduated from the Faculty of Lyrial singing of the Conservatory (CRR d'Aubervilliers) and had previously met many singing teachers, I was finally able, thanks to Mariam Sarkissian's method, to discover a coherent vision of singing and to experience a vocal freedom that I had not known before. In addition to a constructive, documented, experimented discourse on the voice, the method brought me a true re-education of the vocal gesture, which was and still is beneficial to me.

I strongly recommend this method, for beginners as well as for advanced students, in order to understand a healthy singing practice, at all levels."

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Geoffroy Heurard

Lyrical singer, artistic Director of 

Ensemble Perspectives


"The voice is an instrument as wonderful, powerful as it is fragile. The method and the teaching of Mariam Sarkissian come to synthesize the essence of this magic clockwork to always guide us towards the heart of singing, always bring us back to its simplicity and its evidence.

This method has allowed me to rediscover that my body and my personality are only one same filter that must freely let the breath go and catch the tone to allow the blossoming of the voice, its resonance."

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Constance Malta-Bey

Lyrical singer (soprano)

"I could immediately appreciate the benefit of Mariam Sarkissian's technical approach: her method brings a clear and precise answer to the various problems met on the whole range of the voice. It allowed me to link the elements that I had already learned from different teachers or that I had naturally, by giving them a coherent and common base: the Balance Triangle.

The book "I think, therefore I sing" allowed me to consolidate my knowledge and to deepen this technique."

 

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Philippe Brocard

Singer (baritone) in the French Army Choir,

artistic director of Estivales de Puisaye

"I am fortunate to have a "natural" voice which, until I was thirty-five years old, allowed me a lot, but a little on the bravery. At forty, the body doesn't react the same way anymore, and bravery doesn't work as well...

In one year of work with Mariam Sarkissian's method, I found serenity, flexibility and a feeling of ease in the sound emission, which I had never known before... The vocal gesture becomes progressively systematic, automatic and allows to apprehend the profession even in the days of poor shape."

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Alicia Haté

Lyrical singer (mezzo-soprano), graduated in singing from the Conservatory of Paris (CRR, Concertist Diploma)

"I have often heard "a singer is like a sportsman, he has to be trained". A priori, I understood what was being said, but in fact... I didn't know how to "train" myself. I was able to go to an audition simply having repeated five or six times the difficult phrase of the piece I was going to sing (until to the point "it comes"). With Mariam Sarkissian's method, I learned "a working method". She made me autonomous in my technical work: I established the "routine" of daily exercises and now I know what each of them serve for. I am solid, I have regained confidence in my instrument and in myself as a user of this instrument."

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Yanis Benabdallah

Lyrical singer (tenor) and choral conductor, graduated 

in singing from the Ecole Normale de Musique de Paris

"Mariam Sarkissian's method played a fundamental role in the progression and stabilization of my vocal technique. Personally, the work on the " tone " and especially the mental visualization of its " place " had a considerable effect on the clarity, brilliance and especially the ease of my emission.

The method emphasizes "thinking about the sound in the sound's place" before emitting it, and then releasing the breath to that place.

This method is all the more interesting because it puts all the essential elements in interdependence, something that very few singing teachers do since they usually focus on only one element (the high place, the tone, the openness or the breath), but the Triangle makes it possible to understand that lyrical singing is about balance, unique to each person."

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Chloé Chaume

Lyrical singer (soprano)

"Mariam Sarkissian's method is the only one to bring a psychological approach of the vocal technique by a clear vision.

It helped me to find a higher vocal place while putting less openness space, through a healthier vocal gesture which continues to release me from the effort."

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Donatienne Milpied

Singer, actress, teacher in direction of vocal ensembles, 

artistic director of the company Mots en Musique

 

"Mariam Sarkissian's method respects everyone's voice and we can be guided with trust.

In just a few lessons, I understood how to improve my vocal position - at my last recital, I was relaxed, because I had clear technical tools to properly place my emission.

I highly recommend this method."

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Jocelyn Riche

Lyrical singer (baritone), retired from the the

French Army Choir, choral conductor of the Chœur Lyrique René d’Anjou, artistic director of Atelier Lyrique Angevin

"I am a professional singer for thirty years and I have had the opportunity to work on vocal technique with many renowned singers and pedagogues. I have always sought to perfect myself and to improve my vocal technique. In this perspective, I started a vocal work with the method of Mariam Sarkissian.

In two years of work, I learned how to place my voice in a high position. The vocal gesture, repeatedly practiced, is systematized, the sound production no longer depends on a random vocal form".

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Marie Gaignard

Singer, student in singing at the

Haute Ecole de Musique de Lausanne, Switzerland

"The daily training that Mariam Sarkissian offers us helped me a lot because I could set up a routine, important for my vocal evolution. I am like a sportsman, I do the same exercises every day and this training allows me to have a good vocal health, which I consider to be the most important element in our work as a singer.

This method allowed me to realize the importance of the high position, especially thanks to the work with moïto exercises which was a great discovery for me. Thanks to the work on the breath, I discovered a new balance allowing me greater freedom in singing. I now focus on the causes and not on the consequences realized by my body".

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Jean-Baptiste Alcouffe

Singer (baritone) in the French Army Choir

 

"Mariam Sarkissian's method helped me to understand the importance of the "vocal place" at the level of nose and skull resonators and to raise my vocal place. Thanks to the method, I have vocally progressed in suppleness and clearness, I think that my sung voice has become younger thanks to the moïto exercises, my low notes are much more focused, full and free".

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Marie-Cécile Martin

Lyrical singer (mezzo-soprano), graduated in singing from the Conservatory of Versailles (CRR), 

graduated in musicology from the University Paris Sorbonne

 

"Mariam Sarkissian's method ensures authenticity and vocal longevity as it is based on a natural balance free of all kinds of harmful compensations. It also allows a very spectacular sound projection and a great ease of emission.

I rapidly read her guide " I think, therefore I sing " and I must confess that it answered to many technical questions that I have been asking myself for years".

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