The continuous work I have done with Coralie Cousin for the past several years has served me well not only as a performer but as a teacher. Coralie possesses the art of making each musician aware of his body, of making him live his music in a relaxed but energized way. I believe that this work is indispensable for every musician (whatever his instrument may be) because it gives liberty and freedom to the art of sound: it does not create music, but it allows the musician to do so by freely expressing himself.
Olivier Baumont
Harpsichordist
Professor at the Conservatoire National Supérieur de Musique et de Danse de Paris
Proper posture at the instrument is indispensable in preserving a musician’s health. It is also important in that it allows him to use the maximum of his technical abilities in order to have the best possible artistic presentation. “to transcend technique in order never to cease to sing…”
Becoming conscious of this posture is a long journey, which evolves over time and
with the ever-
But it is very difficult to be objective about one’s own technique and position at the instrument. This is where the musician’s physical therapist comes into play, not only to heal, but also to prevent problems that could happen in the long term.
My work over the years with Coralie has been of capital importance to me, because I was able to integrate a readjusted position into my posture, which I never would have been able to do alone. Would I still play the organ today if it weren’t for her help?
So thank you, Coralie, for your science and charisma, and may your experience help new generations of musicians as it has helped me!
Olivier Latry
Performing artist
Organist of Notre-
Professor of organ at the Conservatoire National Supérieur de Musique et de Danse de Paris.
My work with Coralie began several years ago, and was at first on a personal level due to a major back problem, and now it is through regular classes with my students at the Ecole Normale de Musique de Paris. It goes without saying that this new approach of not only working solely with one’s fingers but also with the whole body seems to me to be indispensible. Fulfilling the physical needs of a musician’s body allows it to obtain the best possible gests and sound (both being directly linked to one another). I can not recommend this experience enough, and I think that it should be taught to children from their very first moments with the harp instrument. This could avoid many physical and psychological problems that happen often at an adult age…
Concert Harpist
Soloist of the Orchestre National de Radio France
Professor at the EcoleNormale de Musique de Paris
I am very fortunate as a flutist to have worked with Coralie Cousin. Her insights on posture, balance, strength, relaxation and most importantly breathing have been very useful for me as both performer and teacher. Coralie's ideas are all based on her solid understanding of human physiology. Her exercises focusing on supple yet energized and powerful breathing are liberating and extremely effective. She communicates with clarity, simplicity and compassion. Flutists, both student and professional, would benefit from working with Coralie Cousin.
Linda Chesis
Professor of Flute
Manhattan School of Music