Susanne has coached at The Guildhall School for Music and Drama, she has deputised and taught at the Royal Academy of Music and given master classes in Spain,
the USA, the UK and Japan.
She has mentored the winners of the London Philharmonic Orchestra's Future First student scheme, coached the LPO Youth Orchestra and the Southbank
In 2012 Susanne founded 'The Cello Corner', a cello Suzuki studio, located in Islington
Lessons are offered to students of an advanced level as well as children.
teaches students who are planning to do their diploma or are preparing to audition for music college.
with orchestra repertoire is given as well as solo repertoire and chamber music.
also prepares students for auditions for youth orchestras such as the National Youth Orchestra or the Mahler Orchestra as well as competitions and festivals. She also has many years of experience in
preparing for professional orchestra auditions.
She is an accredited Suzuki teacher, qualified by the British Suzuki Institute and is a member of the London Suzuki Group.
Having worked with many orchestras as principal and having sat on numerous audition panels over the years, she knows what is required and what the crucial points of doing an audition are, how to
handle the trial period / probation year and most importantly: how to prepare efficiently in order to deliver the highest standard of performance in those few minutes of auditioning.
With Vladimir Jurowski at the Royal Festival Hall in London
With Gennady Rozhdestvensky playing Metamorphonen by R. Strauss
"I have seen many candidates failing orchestra auditions because they didn't have any experience how to handle it. Playing an orchestra audition has nothing to do with playing a concert or even
an audition for a scholarship or competition. You have literally 10 seconds to give your first impression and to show what kind of player you are. If nerves come in the middle of it you have lost the
game. Auditioning needs to be practised. In my opinion most teachers concentrate too much on concertos and solo repertoire, neglecting the orchestra excerpts. However, the excerpts in an orchestra
audition are more important even than the concertos. It is extremely challenging to play an excerpt out of context with no other players joining you. I have made it my destiny to help students who
are looking for a position in an orchestra and give them the preparation they need."