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And her industry is not confined to her music.<p>Opinionated but polite, she is trenchant in her views on the state of arts funding, lack of discipline among young people (watch out Nick Hurd – the minister for civil society, who recently said that unemployed young people lack the “grit” to win work) and, of course, the current debate around sexism in classical music.<p>Benedetti’s undeniable good looks – huge almond eyes, long caramel hair, fabulous figure – have not only led to toe-curling tabloid headlines declaring her “as fit as a fiddle” but also allowed critics to claim that she, and other attractive musicians such as self-styled “trumpet crumpet” Alison Balsom, are marketed on their appearance.<p>Indeed, the 26-year-old’s album covers – the latest one, out next month, is called My First Decade – frequently focus as much on her million-watt smile as the million-pound violin she plays (currently the Gariel, a 1717 Stradivarius loaned to her by the banker Jonathan Moulds).<p>Last week, however, there seemed to be some scientific backing for such a marketing approach. A study carried out at University College London, in which professional musicians and novice fans watched both silent video and audio recordings of winners of prestigious competitions, found that audiences were more likely to be swayed by an artist’s looks and showmanship than their musical ability.<p>Sitting in her airy west London flat, Benedetti shrugs: “The whole discussion about separating different elements of performance from the visual appearance of the likes of Alison Balsom or myself is ignorant,” she says. “When people go to see a live performance, they are taking in, on all sorts of subconscious levels, everything about that person – but it’s more than just what dress 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Repin, born in Siberia, knew it so infallibly well he was able to chat away, in Russian of course, with conductor Vladimir Verbitsky whilst playing at the rehearsal.During both performances I experienced spine-tingling sensations from his charismatic tone and interpretation. I found it hard to sleep that night as the sound of his playing rolled around in my head like the swell of great ocean waves. It set me thinking again about the nature of charisma. Id previously heard Tchaikovskys concerto played in this same hall by other world class violinists on several occasions, without this electrifying effect.What is Charisma?What is this magical mysterious quality that attracts us with such a powerful magnetic force? Is it possible to teach and learn charisma? Musical pundits describe it as a pure, mystifying gift unobtainable unless youve somehow always had it. However they are perhaps better at describing what it is not, agreeing that it cannot be created by mere virtuosity and flawless technique. However, the question remains: as performers, is our charismatic appeal automatically created or constrained by some intangible force of nature arising at the time of our birth?I dont think anyone has completely unravelled the mystery, but my teaching experiences have shown me that many of the contributing factors can be taught and learned, giving rise to authentic charismatic performances. 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