Amy Likar began her career as a flutist and became fascinated with performance health and wellness through her own recovery from stress-related injuries. She has since integrated her expertise in Alexander Technique and Body Mapping into her flute teaching, chamber music coaching, and master class teaching. By developing students’ physical ease, presence, and confidence, she helps them reach their musical potential.
As the Director of Training for the Association for Body Mapping Education, Amy Likar has trained, licensed and mentored over 40 professionals. These educators are now teaching in their own private studios and in institutions such as the Guildhall School of Music and Drama, Amsterdam Conservatoire, Columbus State University, and Oberlin Conservatory.
Likar serves on the faculty at Saint Mary’s College of California as instructor of flute and is a teaching artist mentor for the Oakland Symphony’s award-winning Music for Excellence program. With a focus on supporting and building community and music learning for diverse student populations, Amy’s teaching integrates musical learning with whole body awareness.
A member of the Oakland Symphony, Amy has also performed as a freelance musician with Opera Parallèle, West Edge Opera, the San Francisco Opera and San Francisco Ballet. Highlights of her performance career include a critically acclaimed premiere of Martin Rokeach’s Concerto for Piccolo and Orchestra, in addition to the premieres of solo and chamber works by Valerie Coleman, Michael Stephens, Donald Sloan and Daniel Felsenfeld.
As a guest artist, Likar presents recitals, workshops and masterclasses. Residencies often integrate workshops for students and faculty across music, dance and theater departments.
She is a Verne Q. Powell Performing Artist and available for custom clinics and residencies.
San Francisco Chronicle, March 19, 2016
Rokeach’s concerto was the centerpiece of Friday’s concert by the Oakland Symphony under Music Director Michael Morgan at the Paramount Theatre. It featured a dazzling solo turn by Amy Likar, who sounded entirely in sympathy with the work’s fundamental premises.
In particular, Likar was clearly intent on bringing out the more expressive vein in Rokeach’s writing, and outlining a dramatic relationship between soloist and orchestra that was not quite antagonistic — in the manner of traditional Classical and Romantic concertos — and yet not quite collaborative either.
And in the long-breathed melodies of the slow movement, which Likar delivered with winning tonal beauty and eloquence, you can hear a new kind of character being forged for the piccolo. It’s the kind of thing that instrumentalists all over might undertake.
-Joshua Kosman, San Francisco Chronicle