Her writing is characterised by a unique vocal technique, which intertwined with the instruments of the musicians who accompany her, creates a mantric effect, which is almost hypnotic.
The temperamental vocal technique of Flamenco from the beginning of her musical life in Spain is what predominates her style.
After moving to live in Italy she begins the long road of classical training – under the guidance of Gloria Giovannini – which would allow her to master her voice and enrich her technique, register and vocal expertise.
Always with a focus on continual vocal research and thanks to the teachings of the Tibetan Lama, Venerable Norsang, lead cantor in the Gaden monastery (Mundgod Karnataka India), Igor Koshkendey – expert in Khoomei singing – and Germanna Giannini, she learns various different vocal techniques and discovers her potential for development.
It is at the Festival of Potenza (2005) where, for the first time, she puts these studies into practice, thanks to her live performance “Perspective Curieuse”, directed by the visual and performance artist Federica Falacia and interpreted by the contemporary dancer Rita Deiola.
She also leant her voice to the BaCo Produced short movie, “Le Corbusier in Calabria. Una suite visiva per otto suites musicali”, (The Corbusier in Calabria. A visual suite for eight musical suites), where she collaborated with the Fratelli Mancuso (The Mancuso Brothers), amongst others.
The most varied musical experiences have come about from her eclectic training and formation, and from her love of experimenting:
Babelia (acoustic pop),
Màntica (electronic pop)
Soprano and soloist in the Arcanto Choir performing experimental classical and popular folk repertoire.
Concert experience in collaboration with Giovanna Marini and the director Giuseppe Bertolucci.
It is on the stages of the Theatre de la Place. Liège (Belgium), and of Teatro Arena del Sole in Bologna and Teatro Argentina in Rome, amongst others, where the music commissioned by the Angelica Festival “Interpretation of the SCENA music composed by Giovanna Marini for the classics: Oresteia by Eschilo, Troiane by Euripide, the Trucstal Frioul by Pier Paolo Pasolini”
Musical and theatrical collaboration in “Documentario: ‘na specie de cadavere lunghìssimo” (Documentary: a kind of very long corpse), the most recent work in the field of cinema by Giuseppe Bertolucci based on the lift and intellect of Pier Paolo Pasolini.
Angelica Festival (International Festival of Experimental Music). Bologna XVI edition (2004) and XVI edition (2008). Music commissioned by Angelica Festival for this choir. Semi-theatrical aspect managed by Giuseppe Bertolucci and Luisa Grosso. “Le Ceneri di Gramsci” (Gramsci’s ashes) by Pier Paolo Pasolini, music by Giovanna Marini.
Take the Cage Train (2008) -Angelica Music Project by Alvin Curran- Angelica. The Church of Santa Maria Assunta di Riola in Vergato
Her love for experimenting, leads her to créate music projects – only for performance purposes- where she can take certain senses to their sensorial limits: Festival perAspera II edition “Alba” (2009), III edition (2010) “Architettura in Sol # Minore” (Architecture in G# minor) and “Rocca” edition VI (2013)
Over time, thanks to an increased interest towards other musical genres, the latin influences in her voice begin to blend with an elegant form of pop music and electronic sounds to give life to a sound which is full of nuances.
In 2013 she performances at the Biennale in Venice. Piazza della Maddalena. “Interno Maddalena” project.
She currently collaborates with producers from the label Liquido Records, working on arrangements for her first solo album which will be launched at the end of 2014.