VIDEOS
BIOGRAPHY

Avi Taler is an Israeli conductor with extensive training and experience in orchestral and choral conducting. He holds a Bachelor of Music degree from the Buchmann-Mehta School of Music in Tel-Aviv University, and a Master of Music degree in choral conducting from the same institution. In 2020, he graduated from the Royal College of Music in London, where he was mentored by leading conductors and conducted several performing ensembles and orchestras.

Avi has worked with a wide range of orchestras and performing ensembles, including the Karlovy-Vary Symphony Orchestra, Ashdod Symphony Orchestra, and the Royal College of Music Symphony and Philharmonic Orchestras. He has also held various educational positions, including conducting advanced municipal youth concert bands and choirs in Israel.

Recently, Avi was shortlisted for the finals of the Lanyi International Conducting Competition and Only Stage Conducting Competition. He was also awarded an Enterprise Award by the Royal Philharmonic Society for creating a unique remote performing ensemble called ExploSound.

With his unique skills and abilities, Avi is set to make his Royal Albert Hall debut with forces from the English National Opera.

Avi Taler was born in Ashdod, Israel, and began his musical studies at the age of six at Akadma Conservatory under the tutelage of Mrs. Yanina Kudlik, learning both piano and choral singing. Avi went on to win various municipal and national competitions and performed in concerto festivals.

In 2016, Avi completed his four-year orchestral conducting B.Mus course at the Buchmann-Mehta School of Music at Tel-Aviv University, studying with Vag Papian, Yi-An Xu, Prof. Yoav Talmi, and Ronen Borshevsky. In 2015, he created, led, and executed an outstanding performance of De Falla’s El Amor Brujo with fellow students in chamber concerts and lecture series. He then pursued his M.Mus in choral conducting with Prof. Ronen Borshevsky, completing it in 2018.

In 2020, Avi graduated from the Royal College of Music in London with a postgraduate conducting course, studying under Professors Toby Purser, Peter Stark, and Howard Williams. During his time there, he had the privilege of being a student of ENO music director and RCM guest conductor Martyn Brabbins. Avi was also involved in the RCM’s opera production of Haydn’s Il Mondo della Luna, led by Professor Michael Rosewell, and collaborated with other opera directors, actors, choreographers, and writers. He also led an orchestral recording at the Abbey Road Studios, where he recorded De Falla’s The Three-Cornered Hat Suite.

Avi’s conducting career has been supported by several awards and honors, including the Polonsky Foundation (2018-2020), Selma Manders and B’nai B’rith Leo Baeck (London) Lodge (2018-2020), The Colton Foundation (2016-2020), The America-Israel Cultural Foundation (2016-2017), The Aviva Or-Shalom Foundation Scholarships (2012-2018), and the Buchmann-Mehta School of Music excellence scholarships (2014, 2015, 2016). In 2015, he was awarded the Ashdod Foundation Exceptional Musicianship Award and the Ashdod Foundation Excellence Award.

Avi’s educational background includes serving as the representative youth concert band’s musical director in Ness-Ziona’s Conservatory (2016-2018) and in Ashdod’s Akadma Conservatory (2015-2017), participating in the LisbonMusicFest concert tour in 2018, and holding various educational positions as a conductor, aural skills teacher, chamber coach, and musical director.

As a choral tenor, Avi sings at the Gary Bertini Israeli Choir and has participated in orchestral projects conducted by Zubin Mehta, Manfred Honeck, Marin Alsop, and Ariel Zuckerman. Avi has performed with the Karlovy-Vary Symphony Orchestra (2017), Ashdod Symphony Orchestra (2017), Royal College of Music Symphony Orchestra (2019-2020), Royal College of Music Philharmonic Orchestra (2018-2020), Buchmann-Mehta School of Music Symphony Orchestra (2015-16), Buchmann-Mehta Carter Chamber Orchestra (2016), Buchmann-Mehta Oratorio and Chamber Choirs (2015, 2017-2018), Havant Symphony Orchestra (2019-20), Croydon Young Concert Orchestra (2019), and other large, medium, or small ensembles. He is expected to have is Royal Albert Hall debut in June 2022, when he will conduct over 1,000 students in an original play.

Avi Taler was born and raised in Ashdod, Israel, and from a young age, he found joy and passion in the world of music. Avi’s musical journey began with piano and choral singing lessons at the Akadma Conservatory under the tutelage of Mrs. Yanina Kudlik. He went on to win various competitions and performed in festivals, gaining recognition for his talent.

Avi pursued his studies in orchestral and choral conducting, completing a four-year orchestral conducting B.Mus course at the Buchmann-Mehta School of Music at Tel-Aviv University and a postgraduate conducting course at the Royal College of Music in London. Along the way, Avi had the privilege of studying under renowned conductors such as Professors Toby Purser, Peter Stark, and Howard Williams, and he gained invaluable experience collaborating with other opera directors, actors, choreographers, and writers.

Throughout his career, Avi has been supported by various awards and honors, including the Polonsky Foundation, Selma Manders and B’nai B’rith Leo Baeck Lodge, The Colton Foundation, and The America-Israel Cultural Foundation. He has also served in various educational positions as a conductor, aural skills teacher, chamber coach, and musical director. When he is not conducting, Avi sings as a choral tenor with the Gary Bertini Israeli Choir and has performed with orchestras led by renowned conductors such as Zubin Mehta, Manfred Honeck, Marin Alsop, and Ariel Zuckerman.

As a music education enthusiast, Avi is very grateful for the opportunity to pursue his passion and share it with others, and he hopes to inspire the next generation of musicians and music lovers through his work.

Click here for Repertoire List

Repertoire Performed

L. V. Beethoven – Symphony no. 8 in F, op. 93

"The Consecration of the House" Overture, Op. 124

H. Berlioz – Le Carnaval Romain op. 9

J. Brahms – Symphony no. 2 in D, op. 73

Herbert Chappell – Paddington Bear’s First Concert

A. Copland – Appalachian Spring (13 instruments)

A. Corelli – Christmas Concerto

E. Elgar – The Spirit of England, op. 80 (Soloist: Sivan Keren)

M. De Falla – El Amor Brujo (Soloist: Zlata Khershberg)
The Three Cornered Hat, Suites 1 and 2

G. Faure – Suite Masques et Bergamasques op. 112

E. Grieg – Peer Gynt Suite 1, op. 46

G. F. Handel – Chandos Anthem, As Pants the Hart HWV 251 (Soloists: Adva Sela and Yonathan Suissa)

J. Haydn – Die Schöpfung (Excerpts)

J. Ibert - Divertissement

W. A. Mozart – Piano Concerto no. 23 K. 488
The Marriage of Figaro – The Letter Scene
Serenade No. 11 in Eb Major K. 375

F. Mendelssohn - Violin Concerto in E minor, Op. 64 (Soloist: Mira Marton)

D. Milhaud – Le boeuf sur le toit

A. Pärt – Magnificat

F. Poulenc – Le dialogue des Carmélites – Act 1 Scene 3

M. Ravel – Le tombeau de Couperin
Introduction et Allegro (Soloist: Liza Rakovskaya)

G. Rossini – Il Barbiere di Siviglia: Overture
Largo al Factotum
Una Voce Poco Fa

F. Schubert – Symphony no. 8, "Unfinished" in b minor, D. 759
Stabat Mater in g minor, d. 175

D. Shostakovich – Symphony no. 10
Tahiti Trot

B. Smetana – The Bartered Bride Overture

I. Stravinsky – Three Shakespeare Songs

J. Williams – Star Wars Suite

Repertoire Rehearsed

B. Bartok – Divertimento for string orchestra, sz. 113

L. v. Beethoven – Egmont Overture, op. 84
Symphony no. 2 op. 36
Symphony no. 3 op. 55
Symphony no. 4 op. 60
Symphony no. 7 op. 92

H. Berlioz - Les Troyens: Chasse Royale et Orage

B. Britten – Sinfonietta, op. 1

P. Dukas - Le Sorcier Apprentice

A. Dvorak – Slavonic Dances op. 46
Romance and Mazurek for violin solo, op. 11 & 49
Symphony no. 8 in G major, op. 88
The Noon Witch op. 108
Serenade for Winds op. 44
Cello Concerto op. 104

E. Elgar – Enigma Variations
Cello Concerto
Romance for bassoon solo
Violin concerto

J. Haydn – Symphony no. 92
Symphony no. 93
Symphony no. 99
Symphony no. 101
Symphony no. 104
Il mondo della luna

F. Liszt – Les Preludes

E. Lutyens – Chamber Concert no. 1

James MacMillan - Tryst

G. Mahler – Symphony no. 1
Symphony no. 5

F. Mendelssohn – Fingal's Cave op. 26
Symphony no. 4, op. 90, "Italian"
Meeresstille und Glückliche Fahrt op. 112

W. A. Mozart – Symphony no. 29 in A K. 201
Violin Concerto no. 5 K. 219
String Divertimento in D K. 136
Requiem in d minor
Die Zauberflöte - Overture

S. Rachmaninoff - Symphonic Dances Op. 45

M. Ravel – Daphnis et Chloe Suite no. 2

F. Schubert – Symphony no. 5 in Bb D. 485

R. Schumann – Symphony no. 4 in d minor op. 120
Symphony no. 3 in Eb Major op. 97

D. Shostakovich – Symphony no. 8

J. Sibelius – Violin Concerto in d minor op. 47
Finlandia Op. 26

B. Smetana – Ma Vlast, Vltava

R. Strauss – Metamorphosen

I. Stravinsky - Octet
Dumbarton Oaks

J. Strauss – Die Fledermaus Overture

P. I. Tchaikovsky – Symphony no. 4 op. 36
Symphony no. 5 op. 64
Violin Concerto in D major, Op. 35
Romeo and Juliet Fantasy Overture

C. M. von Weber – Bassoon Concerto op. 75

Choral:

L. Bernstein – Chichester Psalms

J. Brahms – Liebeslieder op.52

Y. Braun – Vayimalet Kain

G. Fauré – Requiem in d, op. 48

G. F. Handel – Dixit Dominus HWV 232

F. Mendelssohn – Psalms 42 op.42

S. Rachmaninoff – Vespers op.37

Repertoire Learned

L. v. Beethoven – Symphony no. 1
Symphony no. 5
Symphony no. 6

J. Brahms – Symphony no. 1
Symphony no. 3
Symphony no. 4
Piano Concerto no. 2

H. Berlioz – Le Roi Lear Overture
Symphonie Fantastique

L. Bernstein – Candide

G. Bizet – L'Arlessienne Suites 1 & 2
Carmen - Excerpts

A. Copland – Rodeo

F. Chopin – Piano Concerto no. 2

C. Debussy – Prélude à l'après-midi d'un faune
La Mer
Première rhapsodie

A. Dvorak – Symphony no. 9

E. Humperdinck – Hänsel und Gretel

Z. Kodaly – Dances of Galánta

G. Mahler – Rückert-Lieder
Totenfeier

W. A. Mozart – Symphony no 39, in E flat major
Don Giovanni: Overture, Recitatives, Arias and ensembles.
The Marriage of Fiagaro: Recitatives
Die Zauberflöte: Recitatives
Così fan tutte: Overture

G. Puccini – La bohème - excerpts

R. Schumann – Piano Concerto

J. Sibelius – Symphony no. 5

Petko Staynov – Rachentica from "Thracian Dances"

R. Strauss - Till Eulenspiegel
The Presentation of the Rose from Der Rosenkavalier

I. Stravinsky – Le Sacre du printemps
Petrushka
Concerto In D

P. I. Tchaikovsky – Symphony no. 6
The Swan Lake Suite
Piano Concerto in Bb

C. M. von Weber – Oberon Overture
Der Freischütz Overture

R. Vaughan Williams – The Lark Ascending

G. Verdi – Rigoletto Overture

APPEARANCES
Click here for past concerts
Tuesday 15 August 2023, 7.30pm

Did we ever leave lockdown?, IKLECTIK, 20 Carlisle Lane, Old Paradise Yard, London, SE1 7LG

Tuesday 27 June 2023, 7.00pm

Music Makes Me, Royal Albert Hall, and in partnership with the Royal College of Music at the Royal Albert Hall, London - press release by Tri-Borough Music Hub

Saturday 1 October 2022, 7.30pm

Traditional pre-season ‘Popular Classics’

Sunday 3 July 2022, 13:45

RCM Festival of Conducting

Wednesday, 20 April, 2022, 8 pm

Songs For Film – St Pancras Old Church, London

Friday, October 30, 2020

Conductors’ Podium – Come Together – Stay Apart – Make Music

Friday, March 27, 2020

Conductors’ Podium: All-Time Favourite of The Classical Repertoire – Cancelled

Saturday, March 21, 2020

Havant Symphony Orchestra Concert – Cancelled

Sunday, March 8, 2020

Family Concert: Havant Symphony Orchestra - flyer:

Friday, February 14, 2020

Appalachian Spring

Tuesday, February 11, 2020

Opera Scenes: RCM Singers Perform Pieces From Repertoire

Thursday, February 6, 2020

Orchestral Masterworks: Sibelius’s Symphony no 2

Wednesday, February 5, 2020

RCM Sparks Lunchtime Concert for Schools: Feel the Force

Friday, January 31, 2020

Opera Scenes: Don’t Miss The Opportunity to Spot The Stars of The Future!

Saturday, December 7, 2019

Havant Symphony Orchestra – Autumn Concert - flyer:

Tuesday, December 3, 2019

Conductors’ Podium

Thursday, November 21, 2019

Orchestral Masterworks: Swan Lake

Friday, November 1, 2019

RCM Wind Ensemble

Friday, October 11, 2019

Conducting Masterclass with Martyn Brabbins

Friday, October 11, 2019

Conducting Masterclass with Bernard Haitink – canceled!

Sunday, June 23, 2019

Conductors’ Podium

Thursday, May 2, 2019

Orchestral Masterworks: Smetana and Szymanowski

Sunday, April 28, 2019

Great Exhibitionists: The Coat Of Two Colours

Friday, March 8, 2019

RCM New Perspectives – Avi Taler

Sunday, February 10, 2019

Conductors’ Podium – Avi Taler

Sunday, December 2, 2018

Royal College of Music Presents: Conductors’ Podium

Thursday, October 11, 2018

Avi Taler – Orchestral Masterworks: Discovery Workshop

July 7, 2018 - June 8, 2018

“Heart and Mouth and Deed and Life” at Tel Aviv University

Tuesday, September 12, 2017

Water Music – A Tribute to G.F. Handel

Wednesday, June 28, 2017

Choral Conducting Concert

MILESTONES

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Orchestral Recording in Abbey Road Studios
I was very honoured and privileged to take yesterday's recording session in Abbey Road Studios, collaborating with a world renowned award winning team, with Stephen Johns as producer, and John Dunkerly as engineer, and the most important, a brilliant orchestra made of beloved committed hard working colleagues.
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I cannot express the sensation of walking down those corridors, creating music in those chambers, and using the facilities where all those superstars made their recording and most celebrated soundtracks were produced.
8 years ago, when I scribbled on a paper about where I thought I would be in 8 years, and wrote that I'd be studying music in London somewhere, I would never imagined it would go that far.
If 15 months ago anyone told me that my course in the RCM will go that way, I would never believe it.
If anybody asked what I thought my 2020 and first week of term would be like, I would not fantasise even on excitement as such.
I am very proud of this unforgettable experience, and grateful to everyone who made it happen and shared it with me!
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Schoenberg's Survivor from Warsaw with the RCM Chorus
After two years of not having the option to observe Yom Kippur at all, due to living and business overseas, I felt I owed myself the break and peaceful and quiet seclusion time which we encounter once a year. I took an official Leave of Absence from school, and decided to fast, and indeed managed the mission without too much of a difficulty.
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Somewhat unfortunately, my help was needed at college with the Hebrew text at the choral part from 'A Survivor from Warsaw', and when no one else was found to take it, I decided to walk slowly to college and do it myself. There was something powerful about telling about the verbal and general significance of the Shema Yisrael text, and teaching a male choir with the Yiddish pronunciation while wearing a cap at the time when the Gates of Heaven are opened. Perhaps it sounds a little bit surprising and strange that I of all people give such a big importance to that day, but it really has some sense of cleansing and purity we all need.
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Concert Tour with the Ness Ziona Youth Concert Band in Portugal
The Ness Ziona Representative Youth Concert Band and I came back a week and a half ago from the LisbonMusicFest, a musical festival in portugal, where except of giving four excellent concerts in glamorous impressive sites we travelled a lot, visited the beautiful stunning Portugal, became very close and had a wicked time!
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I am proud I had the privilege to be a conductor of students who apart of much talent, hard work and ambitions they have are also full of jolity, true friends to each other, good, disciplined young people, nothing less than examplary. Along with colleagues who created nothing less than a prefect team, we were privileged to go experience a lovely process where a group od individuals gains memories and spend a long time together and becomes a unified thing with team spirit and much rejoicing of making thing together. As someone who had travelled to many delagations in his life as a child or student, I am very happy I had the chance to stand also at the other end, and enjoy the fruits of planning and thinking.
I am grateful to the parents who gave full trust in us and let us enjoy of their treasures as well!
Very sadly, this experience is concluding and finishing, an experience of farewell. But I am isnpired of the much enjoyment with a lot of energy, and know that I am leaving an excellent band with a lot of potential which will only keep rising and flying up high!
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Online Masterclass with Bernard Haitink
I was very honoured and humbled for having the opportunity of working with Maestro Bernard Haitink on Brahms 3rd Symphony. Remote learning has proven to be more productive and inspiring than I've ever thought it would!
I am very grateful for the help of RCM, conducting professor Peter Stark and Mrs. Patricia Haitink with making this class happen.
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Manuel de Falla Performance in the Buchmann-Mehta School of Music
I had the huge privilege to perform Manuel De Falla's El Amor Brujo in The Buchmann Mehta School of Music TAU chamber concert series. One year earlier I had had the innocent idea of performing this piece on the chamber course, and since then it had so many incarnations and met so many difficulties till that day, when the dream amazingly came true beyond all expectations.
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I had the privilege to work with the best musicians, who are all students and masters in their profession, and to be guided by the greatest mentors. I want to thank all those who took part, helped, supported, stood the mission and were there for me. It was an amazing experience and challenge, and I hope there will be more of it in the future.
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Family Concert with the Havant Symphony Orchestra
It is very likely to think about "family concert" as a potpourri of light music and hits that people appreciate just because they know it. Actually, my last performance as the bursary holder in the Havant Symphony Orchestra was more than that. First of all, there were lots of pre-concert activities for kids and families, some of them were really cool.
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Second, the orchestra with which I have been working since September played every single piece brilliantly, in a way that even an hour into the concert, no child felt bored! and third, I was very happy to have the special experience of performing the piece Paddington's Bear First Concert, which is a tricky one: narrated, many pauses and solos, rest bars and a lot of freedom accompanying the text. I have had a tough process getting into it, but I got there eventually. It was real fun to perform this piece, and I must admit, I was in good hands, guided by my tutor, Jonathan Butcher, and the orchestra which made an extra effort to make this thing work for all of us. It was a great success.
So with all due respect to family concert cheesy reputation - I can tell everyone that our concert was sold out!
I can understand, by the way, why Bear Paddington made up his decision to be a conductor when he grows up!
RESONOVA ENSEMBLE - Project Update and Reflection: Navigating Music in Unprecedented Times

Introduction: A Journey Beyond Lockdown

The year 2020-2021 will forever be etched in our memories as a time of unprecedented challenges. The global pandemic disrupted lives, including the world of music. It was during this period that an intriguing proposition came my way from Thomas Foster: to commission music that transcends physical distances and unites musicians through virtual collaborations. As we embarked on this unique journey, little did we know how impactful and transformative it would become.

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The Genesis of an Idea

Deep into the final lockdown of early 2021, the desire to create and perform music together was palpable. The constraints of remote communication led to a curious experiment – a musical composition to be performed via Zoom, connecting musicians who were physically apart. The experiment bore fruit as we discovered the untapped potential of this unconventional setup. These early materials would soon evolve into the foundation of an idea that would propel us towards the Royal Philharmonic Society Enterprise Award.

The Milestone: RPS Enterprise Fund

The recognition of our project's potential arrived in the form of the RPS 2021 Enterprise Fund. This was a significant milestone, affirming the value of our endeavor. With excitement, however, came challenges. The grant fell short of our ambitious plans, and the evolving landscape as restrictions eased posed new considerations. In-person performances were regaining their allure, casting a shadow over our remote concept.

Challenges and Adaptation

The year 2022 was marked by numerous funding applications and demanding feedback. The dynamic nature of reality highlighted our struggle to justify the continuation of remote performances. Yet, the commitment to the RPS funding compelled us to adapt, innovate, and persevere. We were tasked with navigating the delicate balance between the digital and physical realms of music.

Absolutely, let's incorporate those details into the report. Here's the continuation from "The Vision Blossoms" with the additional information you provided:

The Vision Blossoms: A Concert Across Continents

And now, the culmination of this 2.5-year journey has come to pass. What was once a hazy and experimental vision materialized into a remarkable reality. The concert, a testament to perseverance and collaboration, unfolded with its own set of challenges.

Overcoming Technical Hurdles: A Symphony of Adaptation

As the concert approached, technical issues emerged as a formidable obstacle. Rehearsals and preparations were not without their fair share of struggles. Despite our best efforts, achieving seamless audio communication between the in-person musicians and their remote counterparts proved to be a complex puzzle. Hours of attempts, including a shift from Zoom to Jitsi, didn't yield the desired outcome of both parties hearing each other clearly. Flexibility and compromise became our guiding principles as we navigated the intricacies of remote collaboration.

The Conductor's Role: Navigating Challenges

In this heightened atmosphere of technical complexity, my role as a conductor gained even greater significance. Creative solutions were essential to ensure a cohesive performance. At times, pieces were performed with deliberate muting of in-person musicians to sync with remote players. This collaborative improvisation highlighted the adaptive spirit of our endeavor.

Harmonizing the Unseen: Sound Engineering's Triumph

The concert day arrived, and the stage was set for our ambitious performance. Sound technicians played a pivotal role in weaving our disparate elements into a harmonious tapestry. Through their skillful mixing of all channels, the music finally resonated beautifully within the venue, providing a deeply satisfying experience for the live audience. This achievement, however, was still out of sync with the experience of the remote players.

Unity in Diversity: The Coherent Journey

Throughout the performance, we seamlessly blended in linking segments composed of texts and videos. These interludes formed bridges between the various compositions, creating a cohesive and immersive journey for the audience. Despite the technical challenges, the concert emerged as a comprehensive and meaningful experience, reflecting the resilience and creativity that define our time.

Reflecting on a Journey of Adaptation and Harmony

Looking back on this project's evolution, from its experimental beginnings to this triumphant performance, the symphony of adaptation and collaboration resonates deeply. It is a testament to the indomitable human spirit, the willingness to overcome challenges, and the beauty that emerges from harmonizing diverse elements.

Continuing the Melody: Lessons Learned

This experience has illuminated valuable insights that will resonate in the continued journey of each participant. As we move forward, the lessons of technical flexibility, adaptive collaboration, and the unwavering commitment to artistry will guide our paths.

Acknowledgments

Our heartfelt gratitude extends to the Royal Philharmonic Society Enterprise Fund in association with Harriet’s Trust. Their support empowered us to navigate uncharted territories and create music that transcends boundaries.

Continuing the Harmonic Journey

As the final notes of this performance gently fade into memory, our journey continues. Each challenge met, each chord struck, and each moment of collaboration has paved the way for the chapters yet to be written. This is not the end; it is a transition into a future where the lessons learned, the connections forged, and the music created will guide us forward. Just as our compositions unfold in time, so does our shared narrative, ever-evolving and enriched by the echoes of our collective efforts.

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Testimonials / Articles

  • “Avi succeeded in making his performance feel like a truly special event- as it indeed was, from a beautifully delivered and sincere welcoming speech, to an imaginative, engaging and excellent performance. It was clear from the audience reaction, ... how much the performance connected to everybody on an emotional level.” Toby Purser, Head of Conducting, Royal College of Music.
  • “Avi has a natural and fluent technique, and gives a good upbeat... at his performance, he really pulled something wonderful out of the bag. He really gave the piece an overall musical and emotional shape, and enabled it to get across to the audience. His love for the music was very evident throughout.”
  • “Avi Taler did an incredible job conducting the orchestra! His clarity and presence on stage were remarkable, and his connection with the musicians was simply outstanding. It's great to see the band getting back on track thanks to Avi's amazing progress.”
  • “Avi’s performance was truly outstanding in every aspect. From the impeccable taste and emotional depth he brought to the music, to the flawless intonation and adherence to the spirit and style of the pieces, it was clear that he had poured his heart and soul into every moment. His dedication to his craft was truly commendable and it was an honor to witness such a remarkable achievement. I have no doubt that his hard work and talent will be well appreciated and I am grateful for the unforgettable experience he provided.”
  • “This production is not shy in its aspirations. There are 21 pieces of original music, 17 of which are songs that have been co-designed with young people. This is a fully relaxed performance with BSL interpreters, it is semi-staged with 7 actors, and there are music videos and animations which accompany the music. On stage there will be 1,127 performers combined of 940 in the mased choir from 40 schools; 81 in the TBMH Chorus; and 107 in the orchestra, all led by Principal Conductor, Avi Taler.”
  • Ashdod.net article 1 | article 2
  • Interview: In Conversation with Avi Taler, RCM Creative Carreers Center
  • Interview: Profile: Avi Taler, conductor, Music in Portsmouth
CONTACT

Please get in touch sending an email or using the form

I am available for and open to ideas of projects and collaborations.

I can offer my services in the following:

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Conducting and Musical Directing ensembles of all sorts (choirs, chamber, orchestras, bands) and levels (professional, amateur, students)

Teaching: Conducting, musical theory, ear training, harmony, analysis, history of music, piano and more

Language Coaching for vocalists and IPA in: Russian, German, Italian, French, Spanish, Latin and English.

Lecturing on various topics related to performance and leadership

Reviewing and feedbacking performances, recording and run-throughs as a preparation for exams, auditions and competitions and adjudicating

Orchestrating and arranging in various styles and instrumentations

Notating and transposing

Translating lyrics to Hebrew

All are available online as well!

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