Doctorate student in Historical Musicology in Instituto de Etnomusicologia – Centro de Estudos em Música e Dança, Universidade Nova de Lisboa, Portugal, with a scholarship from Fundação para a Ciência e Tecnologia, and Cellist specialized in Historically Informed Performance Practice. Master in Music, specialization in Early Music, by the Royal Conservatory of The Hague, The Netherlands. Was awarded in the following competitions: Concurso Internacional Júlio Cardona, Covilhã, Portugal (1998), Prémio Jovens Músicos-RDP, chamber music, Lisboa, Portugal (1996-1997), Concurso Parnaso, Porto, Portugal (1995). In 2007 was selected to integrate the European Union Baroque Orchestra. Received the Top Talent Award during her Master Studies, given together by the Conservatories of The Hague and Amsterdam, The Netherlands (2006-2007), and had a scholarship by the Fundação Calouste Gulbenkian (1995-1998). Participated in the recording of the following discs: Antígono of Antonio Mazzoni, Divino Sospiro, Enrico Onofri, ed.Dynamic (2013), The Four Seasons, A. Vivaldi, Forma Antiqua, Aarón Zapico, ed. Winter&Winter (2012), 1700 - The Century of the Portuguese, Divino Sospiro, Enrico Onofri, Dynamic, (2011), Pedra Irregular, 7 Lágrimas, ed. Murecords (2010), Silêncio, 7 Lágrimas, ed.Murecords (2009), Baroque Suites, European Union Baroque Orchestra, ed. The Gift of Music, Reino Unido (2008),Mozart Sinfonies, Divino Sospiro, ed.Nichion (2007). Colabora enquanto violoncelista com os seguintes agrupamentos: XVIIIth Century Orchestra, New Dutch Academy, B'Rock, Orchestra of The Age of Enlightenment, Irish Baroque Orchestra, Holland Baroque Society, Al Ayre Español, Divino Sospiro, Forma Antiqua, Les Passions de l'Âme.
The Violoncello in Portugal c.1750/1834: A study of repertoire and performance practice
This research aims to broaden the knowledge we have about the violoncello in Portugal in the period between c.1750 and 1834 and will be structured in two main sections:
1. Study of the repertoire in which the violoncello has a significant role, whether in a solo, chamber or orchestral context, both through the collection and analisys of known works as well as by researching public and private arquives for unkown works.
2. Performance practice research, encompassing stylistic, instrumental, technical and organological matters through the study of contemporary instrumental treatises and essays, trying to establish stylistic bridges with the instrumental practice in other european countries. Historical documentation that might include data about the activity of cellists in Portugal, their instruments and performance practices, as well as complementary bibliography of contextualization regarding portuguese and european coeval music will also be part of the working material.