Colorado-based and global in scope, The Creative Way Around

is a platform for performing artists to

overcome any potential stage fright and to

explore and learn — both in theory and in practice —

the depths of their peak performance state when in the spotlight.


Do you dream of feeling 100% comfortable in any spotlight situation, and in your career?

For auditions, stage, camera and career:

Do you seek to heal a broken bond — or strengthen an existing one — with your professional life or artistic identity?

For soloists, conductors, singers and chamber musicians:


“I gained confidence in myself, and was able to connect to a place of creativity and freedom which has been separated from my singing and performance for the past years. At the end of the program, I was able to feel more comfortable on stage than I have ever felt before, and to overcome terrible stage fright”


Alicia Burns

Alto, U.S.A.

“Giorgia took me to a pen with a loose horse and asked me to play. I have always practiced getting into the zone when preparing for stressful performance experiences, but visually seeing the horse’s reflection of the mood that I portrayed is something unique and unlike any other performance practice experience.

Often when I prepare orchestral music for auditions, the sense of improvisation is no longer present, but the comfort I have when I improvise is now easier to access, knowing the effect it had on the horse during my session


Matthew Boyles

Clarinetist, U.S.A.

“The program had a huge impact on me. I am now more aware of my inner emotional life, and not afraid anymore to let my feelings show. My impulses became pure and truthful, and I also find it easier to let somebody else be in control, and push me to limits that I wouldn’t be able to reach on my own. What a wonderful gift, to realize that I am creative by simply existing! ”

Christa Renwall

Rock Singer, Songwriter and Studio Coach, Finland

“The dynamics of my facilitated encounter with horses mirrored the bond I’d like to establish with my audiences, while on stage. I want to have clear intentions, distinctly communicating what I feel, with no fear or the need to fulfill self-imposed expectations. 

Playing with fear of making mistakes is like approaching a horse with hesitation, causing him to walk away, confused and uninterested. Audiences also feel the lack of coherence, same way.

I’m profoundly grateful to Giorgia and her horses for having taught me so much in such a short time.


Nadia Ferranti

Flautist, Italy