Zsuzsanna Esztó
I owe her for putting me on the path of music. She saw the seed in me, who I could become.

Lívia Ránki
With her unique professional and pedagogical knowledge, she developed and effectively encouraged me towards a musical career, reinforcing my dedication.

Magda Fischer
Her methods, technical and musical solutions, and the impulses provided by her further increased my desire to become a piano teacher myself.

Annamária Krause
She didn't know the meaning of impossible. No technical or musical problem was unsolvable for her. She trusted in her students firmly, which meant a lot in my earlier years.

Erika Becht
The most influential figure for me in music pedagogy and didactics. Both personally and professionally, I learned incredibly much from her. I still apply the methods and knowledge I learned from her.

Edit Hambalkó
I owe her for the encouragement, for applying for a two-year American scholarship, and for earning my MA in the United States.

Prof. Gellert Modos (U.S.A.)
I spent two years learning the ins and outs of body-aware piano playing from him. A new world was uncovered under his guidance. Body-aware piano playing is the core of my teaching. I owe many professional experiences of concerts, festivals, courses, and piano competitions to my professor.

Prof. Ko Iwasaki (U.S.A. cello) 
I can thank him for further development of my accompanying skills through pieces from the cello literature. Strengthening the experience of playing together emphasizes the importance of chamber music in my work.

Prof. Kathleen Randles  (U.S.A. vocal artist, Mezzo-Soprano)
and Prof. Alfonse Anderson (U.S.A. vocal artist, Tenor)
Working with their students, I had the opportunity to develop my accompanying skills in a different manner. Accompanying singers is a separate genre, as their voice is their instrument, requiring other kind of attention to support their performances. I learned a lot about human speech and what we need to pay attention to, both as an accompanist and as a teacher. 

Prof. Michael Schwartzkopf (U.S.A. conductor)
Accompanying the Concert Choir and Musical Theatre under his leadership for two years has increased my efforts to develop polyphony perception in my teaching. In piano playing, it is especially important to hear the voices, weigh them, and perform differentiated articulation (sometimes even in one hand) so that we know which voice is important at which time.