I began my musical studies as a young child in the Miguel Fleta Music School in Huesca, Spain. In this school the voice was the main focus of every students’ musical education. These first years determined the course of my later career. The lessons learned have accompanied me ever since. I was lucky to receive an integral education in which vocal training, learning an instrument and musical theory were inseparable.

I was fortunate enough to hear the lutist Hopkinson Smith in a summer workshop. He made me discover early music. After graduating with honours from the Liceo Conservatoryin Barcelona, I decided to continue my studies in the field of Early Music with Dominique Vellard and Richard Levitt at the Schola Cantorum in Basel, Switzerland.

My studies with Dominique Vellard kindled my interest in the music of oral tradition. Together with Dominique Vellard I have been researching the Spanish repertoire. All these years of learning from him and being accompanied by him have been rewarding as a musician and as a person. Thank you, Dominique.

I have a great interest concerning questions about female repertoires in early music, the reality of female praxis during the middle ages and the renaissance, the existence of a considerable musical corpus eminently female in the aural tradition and the countless condemnations the church has published during centuries against music performed by women. These pursuits have led me to found a new ensemble with three other early music singers: Paloma Gutiérrez del Arroyo, June Telletxea and Anne Marie Lablaude. The group called Cantaderas interprets traditional womens’ vocal repertoire and is accompanied on frame drums. The ensemble is proud to present its first CD As festas do Anno in September 2019. Thanks girls.

Since 2020 I am lucky enough to be part of the EVOCA PROJECT (Exploring the Vocality and Orality of Ancient Song) directed by Paloma Gutierrez del Arroyo. EVOCA was chosen during the pandemic as Artist in Residence by the University of Alcalá de Henares, thanks to this support it began its journey and today is part of a large European project for the next 4 years, directed by the Musicologist Carmen Julia Gutierrez from the Complutense University of Madrid, with the aim of investigate the Mozarabic liturgical repertoire. A wonderful experience. Thanks Palo.

My work as a voice teacher is an encouragement and an important complement to my work as a performer. I can’t imagine performing without teaching. I love to teach and my work spreads out between the Music School of the Schola Cantorum and my neighborhood with amateur musicians. Thanks Basel.

In addition I teach at the Hauterive Monastery in Fribourg.  The monks have offered me their trust as a teacher and as a person: a great gift.

The work with Paloma Gutiérrez at the Medieval and Traditional Music School in Madrid which she leads is one of my favourite channels to transmit an oral repertoire to an enthusiastic public. Thanks Paloma.

My recordings include Il primo libro de Francesca Caccini (which was supported by Swiss National Radio) and La voz del olvido, recorded with Vox suavis on the French label Aparte. I perform regularly in European festivals in France (Festival de Musique Sacrée de Perpignan, Festival international du Thoronet, La folle Journée de Nantes, Via Aeterna), Holland (AMUZ), Germany (Uckermärkische Musikwochen), Spain (Fundación Juan March, Festival Internacional del Camino de Santiago, International music Festival Espazos Sonoros) and Switzerland with  Cantaderas, La Cecchina and Gilles Binchois. I also perform 20th century music with the violinist Colleen Jennings, with whom I founded the ensemble Ex Luce color. I‘ve given concerts of Spanish renaissance and baroque music at festivals, such as the Houston Early Music Festival and the St. Gaudens Festival and I sing regularly in Switzerland with the Orchestra Crescendo performing a later repertoire from Mendelssohn, Gounod, Fauré and Spohr.