I recorded my NAXOS album as part of the GFA prize, and it was unique because I had the freedom to create something that I wanted, rather than what a record company might typically push for.

Recording with Norbert Kraft was incredible; he is very precise and dependable, ensuring the sound quality is excellent.

The church where I recorded has a unique acoustic quality due to its mix of brick and wood, which enhances the guitar's sound.

I wanted to present 'Mysterious Habitats' in a way that reflects American minimalism, playing it more like percussion music rather than a flowing piece.

The GFA experience was more about education than just launching my career; it allowed me to connect with the classical guitar community across the United States.

Performing in concerts is very different from competing; it has been liberating to express myself freely without the strategic elements of competition.

I had to adjust my concert program multiple times throughout the tour to ensure it resonated with the audience and made sense as a cohesive performance.

Despite the challenges of performing frequently, I aimed to give every concert my full emotional effort, which was a significant learning experience for me. The experience of performing the Sasha Waltz piece has been both amazing and frustrating for me, as I've played it too many times and felt pressured to perform it on various shows.

Returning to school after my tour is important for me because I want to complete my master's degree, which I didn't finish at the Paris Conservatory due to concert commitments.

San Francisco is a hub for new music in the United States, and I love it here, which influenced my decision to study with Judicael Perroy again.

Judicael Perroy has a unique teaching style that feels more like personal coaching, where he provides honest feedback rather than strict instructions, allowing for a more organic learning experience.

I believe that a good teacher encourages students to make their own artistic decisions, rather than just following instructions, to avoid sounding robotic.

I find that traditional guitars offer a clearer and more colorful sound compared to double tops, which can sometimes sacrifice tone for volume.

The quiet sound of a traditional guitar creates an intimate atmosphere that draws the audience in, making them more attentive during performances.

Competitions can be frustrating because they often force musicians to compare themselves to others, which detracts from the organic nature of music.

I think it's essential to focus on the emotional impact of music rather than just technical perfection, as true artistry comes from conveying feelings.

At the end of the day, a concert is about connecting with the audience and bringing emotion into the performance, rather than worrying about mistakes.