My students have won positions in orchestras around the world, many of which are title chairs positions:
CANADA
Montreal Symphony Orchestra - Principal, Associate, Assistant & Section
Toronto Symphony Orchestra - Principal & Associate
Quebec Symphony Orchestra - Principal & Section
Les Violons du Roy - Principal
Calgary Symphony Orchestra - Associate
Saskatoon Symphony Orchestra - Principal
National Arts Center Orchestra
Orchestre Métropolitain Montréal
Vancouver Symphony Orchestra
Edmonton Symphony Orchestra
Winnipeg Symphony Orchestra
National Ballet Orchestra
Canadian Opera Company
Saskatoon Symphony Orchestra
U.S.A
New York Philharmonic Orchestra
Buffalo Philharmonic Orchestra - Associate
Boston Symphony Orchestra
Philadephia Orchestra
EUROPE
Finnish National Opera and Ballet - Principal
Orchestre National de Cannes - Alto solo
Orchestre National du Capitol de Toulouse - Co-Soliste
London Symphony Orchestra
Opera National Romania Lasi
Helsinki Symphony Orchestra
La Scala Opera di Milano
Lahti Symphony Orchestra
Lucerne Chamber Orchestra
Orchestra Valladolid Castilla y León
Orquestra Sinfônica do Estado de São Paulo
As a chamber music pedagogue, I have trained and mentored many young string quartets that have been laureates of several international competitions.
Katarina Quartet - Grand Prize, Fischoff Music Competition 2025 / 1st Prize, Saint Paul Competition 2024
Milton String Quartet - Grand Prize , Fischoff Music Competition 2017
Calidore String Quartet - 1st Prize, M-Prize 2016
Quatuor Van Kuijk - 1st Prize/ Haydn Prize / Beethoven Prize Wigmore Lonodn International String Quartet Competition 2015
Cecilia String Quartet - 1st Prize, Banff International String Quartet Competition2010 / SACEM Prize Bordeaux 2010
Schulich String Quartet - Bronze Medal, Fischoff Music Competition 2007
Lloyd Carr-Harris String Quartet - Grand Prize, Fischoff Music Competition2005.
My students have also been succesful in securing academic positions
Schulich School of Music of McGill University
University of Bristish Columbia
University of Toronto
Université du Québec à Montréal
Butler School of Music of the University of Texas
Conservatoire de Musique du Québec
Institut Supérieur des Arts de Toulouse
Teaching is a profound privilege. It is a privilege to transmit my knowledge of a great tradition of string playing to eager young musicians, to engage daily with intellectually curious minds, and to share in the passion and vision of the artists of tomorrow. It is equally a privilege to be entrusted by students and their parents, to serve as a mentor who nurtures both artistic and human development, and to accompany these young musicians as they shape their future careers. This responsibility is one I assume with deep gratitude and honor.
The teaching of music performance encompasses two distinct yet interrelated aims: first, to cultivate a student’s technical proficiency through a structured and methodical approach; and second, to foster artistic expression and creativity through emotional engagement and freedom in performance. Balancing these two dimensions—discipline and spontaneity—is essential to nurturing a complete musician.
My pedagogical approach emphasizes naturalness and physical ease, allowing students to play with freedom of motion and without unnecessary tension. Central to this process are elements such as breathing, posture, technique, musicianship, ear training, self-discipline, and concentration. Technical mastery requires careful attention to details including finger action, stretching, hand and arm positions, shifting, bow control, and weight distribution. These components are addressed individually to help each student refine their innate physical ability.
Equally crucial, however, is understanding the interdependence of these technical elements. The human body is an integrated system: every motion of the finger, hand, or arm affects the body’s overall structure. Efficiency on the instrument depends on recognizing this reciprocity so that the brain can coordinate movement with precision. When correction is needed, I remain mindful of how adjustments in one area influence the body as a whole. I encourage students to study the physiological mechanisms of playing so that they can analyze and refine their own technique. Ultimately, my goal is to develop self-sufficient musicians—individuals capable of diagnosing and solving technical challenges independently, with both intellectual awareness and artistic sensitivity.