Composer · Conductor · Performer
Creating through experimental music, theater, and world folklore

I'm a composer, conductor, and performer from Tel Aviv, working with interdisciplinary, experimental performance and creation through exploration of the human experience.
I'm drawn to the dialectical nature of human experience, where opposing forces don't just coexist—they blur, clash, and transform each other until distinctions nearly disappear. Through electroacoustic composition, language, and movement, I explore these contrasts: acoustic meets electronic, human meets non-human, ancient tradition collides with contemporary experimentation.
Bulgarian folk singing has become central to my practice. My grandfather was born in Sofia in 1927, and in recent years I've deepened my connection to these roots through immersive study in Bulgaria—learning traditional singing techniques, participating in folk festivals, and researching how regional history shapes vocal identity and ornamentation.
I hold a B.M. in Composition and Conducting from Berklee College of Music and am currently pursuing an M.F.A. in Musical Theatre and Vocal Pedagogy at the Boston Conservatory. My thesis research explores singers' willingness to take artistic risks through free vocal improvisation and somatic methods.
I'm passionate about making contemporary art accessible without compromising its integrity. Whether I'm composing, conducting, or performing, I'm searching for ways to create meaningful experiences that resonate with audiences.
"come again." is a vocal meditation on identity, repetition, and the strange beauty of the human mind. It's about the neverending loop of trying to make sense of life's clashing natures—the contradictions that are so painful to acknowledge and handle.
"With roots in the sky and feet on the earth, how can we make sense of the opportunity we've been given to make a difference?"
Drawing from Douglas Hofstadter's idea that the self is a "strange loop," the piece moves in cycles. Breath becomes fragmented speech, then voice, then almost-meaning—until an external voice resets the loop.
The only full phrase I set to music is from Ecclesiastes: "What has been will be again; what has been done will be done again." The piece begins with breath and ends in a fragile choral section—not as resolution, but as surrender.
My current research explores singers' willingness to take artistic risks through free vocal improvisation and somatic methods. As an experimental vocal composer, my goal is to investigate how we can better prepare singers for the demands of new vocal works.
The study involves four sessions with a group of singers, each session exploring a different element of artistic risk-taking: collaboration, movement, story, and voice through Lессac Kinesensics, Viewpoints, Pauline Oliveros' Deep Listening, Alexander Technique, and Free Improvisation.
I completed research on regional history and Bulgarian folk singing, examining how history shapes identity and how it is expressed through different vocal qualities and ornamentation across regions.
I'm currently developing an interdisciplinary adaptation of "Akedat Yitzchak" (the Binding of Isaac)—a reflection on morals and humanity.
An experimental project combining Bulgarian folk singing, free vocal improvisation, and live electronics.
Exploring light and its visual representations, and the interplay between existence and perception.
A journey from the singular self to collective consciousness.


A meditation for Israeli hostage Alon Ohel, created through free vocal improvisation.
Exploration of timbre and breath through voice and electronic wind instrument.
Performed with Firebird Pops Orchestra, River Symphony Orchestra, and The Revolution Orchestra.

Served as Associate Conductor, conducted music rehearsals, run-throughs and served as a stand-by show conductor.
Music Director for the Berklee Commencement Concert featuring Sona Jobarteh.
Associate Conductor of the Berklee Contemporary Symphony Orchestra. Music Director of Curtain Up at Berklee.