Breaking barriers in the classical music industry

First off, could you tell us a little about your journey into music? What was the route that took you toward studying singing at the Federal University of Espirito Santo?

Although I’m the only musician in my family, I don’t have any early memories in which I wasn’t singing. Being born in 2000 meant growing up under strong influences of R&B and pop music from the US, such as Beyoncé, Mariah Carey, Ne-Yo, as well as Disney’s High School Musical (not exactly a typical path for a classical musician, I know), and a Brazilian girl group called Rouge. I loved choreography and singing while dancing, and that was what I wanted to do.

However, I was always shy about telling people I wanted to be a singer, because it felt like something so unreachable to [aspire to]. While continuing to love singing, I tried to find myself in other areas I was also interested in: nutrition, physical education, law, social sciences… By the second half of my second year of high school, I was already convinced I wanted to become a lawyer, but I still asked my mother if I could take singing lessons after watching a video of an elderly woman in a hospital bed saying she regretted not doing what she truly wanted to in life.

So there goes 16-year-old me, going to singing lessons every Monday at 2pm after school. I had two teachers who were also classical singers (and graduates from the faculty I later attended), and although they knew I was more drawn to pop and musical theatre, they heard that my voice could also be suitable for opera. I’m someone who likes to try everything, so that’s what I did: singing Jennifer Hudson while also exploring Vaccai vocalises and Caro mio ben.

Everything changed in 2018, when I joined the choir of the Music Faculty of Espírito Santo and watched my first opera. It was a student production of Haydn’s La Canterina, and I was completely amazed by the music, the orchestra, the power a single voice can have in a theatre, and the costumes. I remember thinking: “Okay, that’s where I’m going.” And that’s where I went. The rest is history.

How did your time at university change or impact your approach to your practice?

Since the beginning of my studies at music school, I have always been very disciplined. I still remember coming back home from my very first lesson and repeating the same exercises I had done with my teacher. I wrote everything down in a notebook, which I still keep with me today.

When I entered college, that discipline deepened, because I had to hold space for so many different subjects at once: diction and phonetics, music and art history, counterpoint, harmony, ear training, academic writing, language studies… It was intense and at times overwhelming, but it also taught me resilience, focus, and how to keep going even when things felt too much.

I was also very fortunate to study with an extraordinary singer and teacher in my home state. He didn’t only teach me technique and how to approach different styles, baroque, classical, romantic; but also how to listen more deeply to music and to myself. He spoke to me about artistry, and also about care, and the importance of mental health in a profession that can be so demanding. That guidance stayed with me far beyond the classroom.

Were there frustrations or challenges during the transition from studying toward professional performance?

Of course. I entered university in February 2020, and by March, COVID had already begun. Much of my training suddenly shifted online, during a time of fear and uncertainty, when the world was facing a global crisis.

To be very honest, this career is financially demanding, and I do not come from a wealthy family. I only managed to afford my first keyboard in 2022. Before that, I used a virtual piano on my laptop connected to a sound system just to hear what I was playing. Fortunately, I was able to study in Brazil’s public education system, which allowed me to train at a high level without tuition fees. Without that, I am not sure I would have been able to continue.

Another challenge was artistic identity. At first, I struggled to understand how to be a Black woman singing Mozart while also bringing my Afro-Brazilian roots onto the classical stage. Back home, I had very few references for that, so I felt fear when I programmed my first concert with Negro spirituals and Afro-Brazilian songs; some of which are connected to Candomblé, my religion. But I did it anyway.

I love Mozart, Puccini, Verdi, and the classical repertoire. But I am equally committed to music that reflects who I am beyond the stage persona.

Are there any barriers or issues in the realm of music, particularly the classical music world, in Brazil that you found to be hard to face? And if so, do you see these issues reflected more broadly, internationally perhaps, when it comes to the world of professional classical musicians?

Brazil is a huge country, almost as big as the European continent. Yet, major opera productions are still held in only three or four theaters. Throughout the rest of the country, opera survives thanks to passionate artists who create small and medium-sized productions, supported by public grants, cultural incentive programs, and local initiatives.

Working independently in my home country taught me how to actively build my own career path. I spoke with Brazilian singers who had already crossed borders before me, and through their guidance I learned to seek opportunities, take part in competitions, build professional relationships, and collaborate with different companies instead of waiting for opportunities to come to me.

At the same time, being a Black opera singer in Brazil and in Europe means navigating barriers that many of my colleagues do not have to face. I can’t say it is always easy and there were times when I really wanted to give up and buy the first plane ticket [home] the next morning, but those experiences have made me even stronger and determined to create my own opportunities and to pursue an international career where I can continue growing as an artist.

You are the first Brazilian woman to have joined the Académie de l’Opera de Paris. Can you explain how that came to be, and how the experience has been for you?

Everything began in July 2024. I was in Rio, in the middle of rehearsals for Gianni Schicchi, when I received a message and an email from my agent saying that Myriam Mazouzi, the Director of the Academy, and Christian Schirm, the Artistic Director, would be holding auditions in Brazil for the Brazil–France 2025 season. The programme was structured in three parts: the first in December 2024, with a 10-day exchange in Paris; the second between March and April, with another 10-day period and concerts of Brazilian and French repertoire at the Opéra Bastille and at the Ambassador’s residence; and the final part taking place in concerts in Brazil in September.

I was selected for the live auditions in São Paulo, which coincided with my work on another opera, Nabucco. After the final round, we all remained in the room and they called my name. That is when I met the directors, spoke about my artistic goals, and was offered a place in the programme.

I came to Paris for the first time just two days after my graduation recital. I had already decided that I wanted to leave Brazil for auditions in Europe. It didn’t matter where, I just knew that I wanted to go. So when I arrived for the exchange programme, I also had the opportunity to audition for the Académie. I did, and I was accepted.

I still can’t quite believe that I have the opportunity to work in what has always been my dream environment. It has been an incredibly enriching experience to meet artists from all over the world and make music at such a high level, while being part of an iconic institution like the Opéra de Paris. I have been developing my technique with my teacher Chelsea Lehnea, exploring new repertoire, and preparing for competitions and auditions in order to expand my career internationally.

The adaptation process to a new continent, language, and culture was very challenging at first. I was fortunate to have friends here who had been living in France for almost a decade, and they generously helped me understand how things work and how to navigate daily life. When I arrived, I could already understand French, but it took time to feel confident speaking it. I have improved a lot since then, although I still rehearse before important phone calls, especially with the préfecture.

You have also researched Black Brazilian musicians, lyricists, and singers. Can you explain a little more about your research and your solo work?

I miss researching, I must say. I don’t have as much time to write at the moment, but I really enjoy it. Three years ago, I presented a paper at a Music Research Conference about Maria d’Apparecida, the first Brazilian singer to perform at the Opéra de Paris in 1962—and it still amazes me that I am, in a way, following in her footsteps.

My final research project was also focused on an Afro-Brazilian opera that engages directly with Candomblé. It is a fascinating work because it reimagines a kind of Romeo and Juliet story between a Bantu man and a Nagô woman in Salvador (the capital of the Brazilian state of Bahia and the Blackest city outside Africa) in the 19th century, where the two groups are portrayed as rivals. The score also combines percussion, inspired by Afro-Brazilian practices combined with electronic music. The opera is called Ópera dos Terreiros, by Aldo Brizzi.

In order to build my own references, I also created a podcast for a university project on Black Brazilian female singers, and I developed a recital program of Negro spirituals and Afro-Brazilian songs. For this recital, my mother designed my first stage dress using capulana, a traditional fabric from Mozambique.

Do you see your solo work, research, and your work within large opera settings as interacting or feeding into each other?

Absolutely. My roots are deeply in Black resistance. My family comes from Quilombo communities in Brazil, which were settlements founded by escaped enslaved Africans during slavery. These became spaces of survival, autonomy, and cultural preservation, and they still exist today as living communities that carry this historical memory - and a huge part of my family still lives there.

I would not be able to sing Mozart or Poulenc if I did not know where my roots are grounded. One must be truly confident in who they are in order to become a great artist. In the beginning, I wanted to fit in because I didn’t see how all of me could exist within the classical music world. If I am standing where I am today, it is because I stopped asking for permission to exist and started setting my own boundaries and rules.

Being the first Brazilian woman to join the Académie, do you feel more needs to be done to support and empower emerging artists to access these sorts of spaces and institutions?

Definitely and I think this goes far beyond individual achievement. Being the first Brazilian woman to join the Académie is an honour, but it also highlights how rare these pathways still are. For many emerging artists, especially those coming from countries outside the traditional European circuit, the access to institutions like this is, of course, about talent and hardwork, but also about financial means, information, and networks.

I do believe more needs to be done through mentorship programs, international partnerships, outreach to underrepresented regions, and a real commitment from institutions.

At the same time, I also think it is important to recognise the resilience of artists who come from outside these centres. Many of us learn to build our own networks, create our own opportunities, and navigate systems that were not originally designed with us in mind. That resourcefulness is powerful, but it should not be the only path available.

How do you feel the Will Smith grant will help you in your practice, and your professional or personal growth?

The Will Smith grant came at a very meaningful moment as I had just moved to Paris and was going through a period of transition and adjustment. It helped me to settle during this time, while still allowing me to invest in my artistic development. It gave me the freedom to invest more deeply in my vocal development, repertoire, and coaching. These things are essential at this stage but not always financially easy to prioritize. It allows me to focus on growth with more stability.

On a professional level, it also expands my mobility. Being able to travel, attend auditions and connect with different artistic centres is crucial for building an international career, and this kind of support makes that access much more realistic.

On a personal level, it is also a form of recognition. Coming from a background where resources and access were not always guaranteed, receiving this support reinforces that my path is viable. It gives me more confidence to take risks, to refine my artistic identity, and to continue building a career on my own terms.