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"...charismatic soloist Abigail Sperling easily persuaded us to simply surrender to the sound [...] there was elegant enchantment to be found in Sperling's effortless and often intricate arabesques, incorporating microtonal infections with finesse."
–William Dart, New Zealand Herald Review, November 28th, 2018 |
Performing | Teaching | Research
Abigail's approach to the flute is threefold, placing equal importance on performing, teaching and research. As a performer Abigail is as at home in front of the orchestra as she in inside of it. She is comfortable with the classical repertoire canon and with new music, and as a result of having worked with several well-known composers she holds New Zealand music close to her heart. Abigail's academic work focuses on the ways in which creative practice (performing) can inform musicological research. Finally, whether tutoring a chamber ensemble at Linfield University, teaching a private student in Corvallis or coaching a class of high schoolers, as a teacher Abigail prides herself on helping each musician develop his or her unique musical voice.
Abigail's approach to the flute is threefold, placing equal importance on performing, teaching and research. As a performer Abigail is as at home in front of the orchestra as she in inside of it. She is comfortable with the classical repertoire canon and with new music, and as a result of having worked with several well-known composers she holds New Zealand music close to her heart. Abigail's academic work focuses on the ways in which creative practice (performing) can inform musicological research. Finally, whether tutoring a chamber ensemble at Linfield University, teaching a private student in Corvallis or coaching a class of high schoolers, as a teacher Abigail prides herself on helping each musician develop his or her unique musical voice.
