Ana Barros is graduated in Vocal Studies (ESMAE), holds a master in Music Education (Universidade de Aveiro) and is currently attending the doctoral program in music (performance) at the University of Aveiro, with a FCT grant (Fundação para a Ciência e Tecnologia). Ana Barros maintains an active career as a singer, having performed in Portugal, Spain, France, United Kingdom, Ireland, USA, Mexico and Italy, mostly with contemporary music ensembles having recorded for radio (Antena2) and TV (Rtp1 and Rtp2). As chamber musician, she performed with the groups "De Corda em Corda"; “Fatum Ensemble”; “Performa Ensemble”; duos with pianists Isabel Sá and Daniel Cunha, and guitarist Augusto Pacheco with whom recorded chamber music for guitar and voice by Fernando Lopes Graça. She also recorded an album with the group "Som Ibérico", directed by guitarist Artur Caldeira. She premiered, commissioned by Casa da Música, a cycle of songs by António Chagas Rosa, composed of erotic poems by the great poet Maria Teresa Horta. She acted in "Boca" by Regina Guimarães and Saguenail, produced by Teatro Bruto, with original music by Magna Ferreira. With the French wind quintet "Le Concert Impromptu" she performed the BWK project, a show based on Brecht's texts, participating in the acclaimed Normandy Festivals (France) and the Brecht Festival (Germany). She presented the project "Saturno-La Mélodie Française", by the Centro de Criação Artística da Gulbenkian, staged by Ana Luena and under the musical direction of Jeff Cohen. Together with pianist Daniel Cunha, she performed in the show "Severa – o fado de um fado", staged by Pedro Ribeiro, a modern invocation of the great mythical figure of fado: Maria Severa, with the support of the Fado Museum, Antena 2 and Instituto Camões. This project was recorded on CD (2015) with pianist Bruno Belthoise. With Isabel Sá she recorded "Palavras Oníricas: o surrealism português", with works written for the project by Carlos Marecos, Sérgio Azevedo and Edward Ayres de Abreu for the poetry of Mário Cesariny and works by António Pinho Vargas for the poetry of António Ramos Rosa and Albano Martins At the moment, focuses her activity on studies in performance and artistic research, dedicating her investigation to the musical production of female singers/songwriters/artistic patrons, having edited 4 Songs about poems by Camões by Berta Alves de Sousa, as well as participating in a book about the composer with a chapter entirely dedicated to her chamber vocal work.

Despite the relevant activity of Portuguese women in music creation, gender issues are not generally addressed in the generic histories of classical music, reflecting the social obstacles that limited women’s professionalization. This project has as main objective to understand the study of the action and creation of women performers and composers in Portugal, in a period of three decades between the end of the XIX century and the establishment of the Estado Novo, focusing in particular on the chamber song repertoire, and its contexts of creation and interpretation. The aim is thus to understand the motivations for the almost exclusive predominance of this genre in the production of composers at that time, to study the implicit and explicit links between this typology of works and cultural and gender contexts, and its insertion and relevance in sociability models, as well as analyzing and identifying stylistic and interpretive patterns with a view to their recreation.