By Nuno Miguel Marques
Special to Classical Voice

Jennifer Larmore (Photo credit: Alvaro Yanez)

From Atlanta to Nice

Portugal’s love affair with Jennifer Larmore began in 1994, when she sang a breathtaking Romeo in Bellini’s I Capuleti e i Montecchi at Lisbon’s São Carlos National Theatre. Six years later, the American mezzo impressed Portuguese audiences with her versatility in a recital at the Gulbenkian Auditorium, which included, among others, a moving Lamento d’Arianna by Monteverdi as well as an expressive Youkali by Kurt Weil. At the end of January 2003, Larmore returned to the Gulbenkian Foundation. This time for a concert. The programme was obviously different. The public’s reaction was not. Enthusiasm and sonorous ovations deservedly greeted Larmore’s peerless coloratura technique in Rossini and her deeply felt La Mort de Cléopâtre by Berlioz, which was imbued with a myriad of vocal colours.

Despite having been acclaimed in all the world’s major opera houses, Jennifer Larmore has not gained any of the capriciousness or aloofness which sometimes characterise opera divas. On the contrary, she received us with a warm smile and a most friendly manner during her stay in Portugal. Hers is a fluent speech that constantly betrays her genuine passion for singing. Fortunately, Jennifer Larmore’s verbal skills have not been wasted, for the American singer currently hosts a programme at Sirius Satellite Radio, called "Backstage with Jennifer Larmore".  Everywhere she goes, Larmore takes her radio equipment with her and interviews today’s most prominent singers, from Renée Fleming to Dmitri Hvorostovsky. And we bet she does her work much better than we do.

Classical Voice: I read that, when you were 13 years old, you already had a flexible voice, naturally endowed with coloratura facility. What coloratura music were you singing when you were 13?

Jennifer Larmore: It’s funny because I realised very early that I did have a kind of operatic sounding voice. The teachers I had when I was in chorus ...

CV: Were you already in chorus at 13?

JL: Yes, I was in choruses and sang all my life either at church or at school. I played piano since I was eight years old. Music was always a huge part of my life and also of my father’s and mother’s life for they loved it. We always had music in our household. When I started to sing, everybody said: “You do have an operatic sounding voice”. My middle school chorus teacher even advised me to sing some Mozart or Rossini songs. As they had coloratura in it, my teachers saw that my voice was naturally inclined to coloratura singing. I could sing fast and I acted as if it wasn’t difficult, because it really wasn’t. It was simply natural. Coloratura facility was there from the very beginning.

CV: When did you realise you wanted to become an opera singer?

JL: When you are young and are good at something, you want to be special and stand out. Singing did that for me. So everyone was telling me I should pursue an operatic career and I was constantly listening to this advice. At the same time, it was what I wanted to do and I have to admit to you that I am very lucky, because I had the voice to realize my dream. It would have been pretty awful and depressing, had I lacked the voice for what I wanted to do. Returning to your question, I realised singing was my dream career at about 15 or 16 and that is why I started looking into conservatories and singing programmes at Juilliards and Indiana University. These are the schools in America that are very good for music learning.

As Rosina (Photo credit: Theresia Linke)

CV: You were a vocal performance major at Westminster Choir College ...

JL: Yes, exactly, in Princeton, New Jersey, right next to New York. It really was a fantastic place for me to go to. I was young, innocent and naive and my parents were afraid that if I went to New York, it would be too big for me. So I went to Westminster.

CV: Taking into account that the beginning of your musical life was spent in choirs, could you talk to us about the experience and knowledge you gained in them?

JL: When you sing in a choir, you are part of a whole. There’s a lot of people there and you must learn to blend, socialise and work well with your colleagues. You have to learn how to keep your individuality down as well. Some of the most fun I ever had was singing in a choir, because you are with people who enjoy the same thing as you do.

CV: In a way, it prepared you for operatic singing, because an interaction must happen between colleagues both in choirs and on stage.

JL: Yes. And I can always tell if my colleagues have sung in a choir or not. The ones who have are much more flexible.

CV: In 1982, you studied at the Music Academy of the West with Regina Resnik. Was she the first famous singer you worked with?

JL: Yes, I believe she was. Regina Resnik is one of those wonderful people who are very unassuming, extremely approachable and, above all, have a lot to give. She taught me a lot about how to move on stage. In a session, when she wanted to demonstrate something, say in Carmen’s Habanera, she would transform into Carmen, even if she wasn’t feeling very well or had bags under her eyes. And I learnt, not only from listening to what she had to say, but also from observing her.

CV: Was she a role model for you while you were studying music?

JL: Yes. I had a lot of good role models. Regina Resnik was one of them. Marilyn Horne, Frederica von Stade and Teresa Berganza were also role models for me, especially in Rossini. However, I learnt early on that my voice was my voice and that I couldn’t copy anyone or be someone other than myself.

CV: Did you ever try to mimic other singers’ voices?

JL: Not really. One has to have an easily manipulated voice in order to be able to sound like someone else. Mine is not that kind of voice, so I never could copy anyone. Nonetheless, when I was young, I did listen to recordings. And I tried to learn from what I heard and from the singers I admired. Let me add another name to the list of singers I most love: Janet Baker.

CV: Since 13, you were aware you had a technically natural voice. Weren’t you afraid teachers might mess it up?

JL: I didn’t know enough to be afraid. All I knew was that I wanted to study music and to sing.

CV: So you just went for it?

JL: Yes. I went for it and learnt as I studied. Fortunately, I always had good teachers and wonderful people around me.

CV: The story behind the beginning of your professional career is really fascinating. I was told that, in October 1985, you accompanied your husband, bass-baritone William Powers, to a New York audition. Your husband’s audition had been scheduled. Yours hadn’t. You would only be given the opportunity to show how good you are, if someone cancelled his or her audition. Do you recall what you felt when you were told you had 5 minutes to audition for several opera companies?

JL: Nervous, so nervous, but happy. I think I had prepared myself for that possibility. I was ready. I knew what arias I would sing and I had studied them.

CV: What arias did you sing?

JL: “Una voce poco fa” (from Rossini’s Il Barbieri di Siviglia), “Parto, parto” (from Mozart’s La Clemenza di Tito), “Where Shall I Fly (from Handel’s Hercules) and “Vas, laisse couler mes larmes” (from Massenet’s Werther). Among other opera companies, I was auditioning for L’Opéra de Nice which was represented by its director - Pierre Médecin - who obviously wanted to hear me singing in French. I am sure my French was atrocious. It had to be at that time. Now I do speak French, but then I didn’t. I think I was but a raw diamond, but he must have heard something special. That’s why he offered me a contract.

CV: How did you cope with the nervousness and tension at such a crucial audition?

JL: I used to be nervous until my husband told me: “Don’t be nervous, they are on your side”. And that simple statement made all the difference in the world to me. I changed and, from that moment on, I thought: “They want me to be good. They want to like me”. I was then able to relax to a certain point and sing. And this is what I tell young people in masterclasses: “They really want you to be good. So relax and give them what they want.”

CV: And nervousness will get you nowhere ...

JL: Exactly. And there are techniques to control it. You can breathe deeply, think about your heart, visualise your heart slowing down and smile.

CV: And you do that nowadays before performances?

JL: Yes. Always.

CV: Because you are still nervous ...

JL: No, not any more. But, I am happy, excited, the adrenaline is pumping and that makes my heart beat really fast. It’s very hard to sing when your heart is beating that fast, so one has to calm it down.

CV: Didn’t you hesitate when you were given 7 leading roles in 3 seasons at L’Opéra de Nice?

JL: I was too young to know any better. I just thought it was great. Why would I hesitate?  It was exactly what I wanted.

CV: How difficult was it to adapt to a new continent, a new country, when you were beginning your career?

JL: If you want an emotion, the overriding emotion that overtook everything was excitement.

CV: Because of excitement, all difficulties seemed easy to overcome?

JL: Oh, no ! I didn’t know any French. I had to learn it. I didn’t know anything about being on stage. I had to learn that as well. There was new repertoire to be studied. I think my brain was being overloaded, because, during the first three years of my career, I was learning 10 new roles a year. That was hard and it affected my memory. Nowadays, after I sing the last note of a role, I completely forget it. And if I have to perform it again, I must re-learn it. This happens, because I trained my brain to learn roles fast.

CV: 40 new roles in your first five years at L’Opéra de Nice, wasn’t it?

JL: Yes. And now that I look back on it, it seems like a very hard thing to do. But, at the time, it wasn’t.

CV: It’s a great achievement.

JL: Thank you. However, you don’t think of it as an achievement when you are actually doing it. When young singers come up to me and say: “Jennifer Larmore, you are a star. You are my idol”, I always thank them, but, inside of me, I’m thinking: “What are they saying? Me? A star? An idol? Why are they using words like these?”. I really don’t know when that happened, that is, when I achieved that kind of status. I have no idea, since I was working too hard to notice it.

CV: Does this mean that you still feel like the Atlanta girl?

JL: In a way, yes. But, in a way, no. There is still a lot of her vulnerability in me as well as her fascination for the obvious in life, such as the grass, little babies and puppy dogs. Nonetheless, I have gained the strength and knowledge she did not have. And that is normal and natural. It comes with maturity, getting older, working hard and making sacrifices. And making sacrifices is an essential part of every singing career, because, most of the time, we have to be away from the people we love.

CV: When you went to Nice, you were already married, weren’t you?

JL: Yes. I have been married for 23 years. And, when you are married, you do not make decisions on your own. There is another person whose feelings must be considered. Compromises must be reached and both partners must respect and understand each other. As my husband is a singer, he does understand what I go through. And he knows that a singer has to make two decisions. The first decision is made when you are young and decide singing is what you want to do. Later, you will have to decide if you will continue singing, despite the hard work and sacrifices, or if you will quit. I think I make this decision everyday. And, since I love what I do, there is no question of quitting.

CV: Love for music is what makes you continue singing.

JL: Exactly. I once asked my mother: “Why are babies so cute?”. “So we don’t throw them out the window” – she answered. And it’s true. The same applies to singing. Why do I want this career? Why do I want to be on the road 10 months out of the 12? Why do I want to be away from my family? Why do I want to make luggage? Because, contrary to what some people might think, I don’t have an entourage that goes around with me. I am not that kind of diva.

CV: I conclude you pack light, unlike, for instance, Maria Callas.

JL: Yes. That was a different time and era. Today, we are jet set opera singers. We are in Copenhagen one day. Lisbon or Paris the next. And, as a result, we don’t have time for those “accoutrements”.
 

On repertoire

CV: How do you study a role? How do you create and build a character? For instance, in one of your latest recordings, Carlo di Borgogna by Paccini.

JL: It’s an incredible opera, isn’t it? I didn’t know that Paccini was really a synonym for Bellini, Donizetti and every bel canto composer combined. I feel that Paccini is a conglomeration of many, different, wonderful and exciting composers.

CV: How did you create the role of Estella in Carlo di Borgogna without any guidance from previous recordings, since I believe yours was the first recording of the mentioned Paccini opera?

JL: I believe so too. Regarding Estella, I usually build my roles out of nothing, because I don’t listen to other singers’ renditions until later, after I have made my own interpretation choices. The creation of a role must be organic for me. Other people like to listen to recordings, look at DVDs and to fill their minds with exterior ideas. Unfortunately, my mind is filled to the brim all the time, which makes it almost impossible for me to sleep. I have a mind that talks all the time. It is always studying or planning. Estella was a lot of fun to create. I just read the words, looked at the music, saw the coloratura. The libretto and score told me everything I needed to know about her. She is one big crescendo until the end. She starts out very happy, in love and innocent and she grows up in the span of one aria. She ends up as Lucia with a mad scene. I was worried the whole opera would be a long mad scene, but it is not. And I have to admit I am both very happy and very proud of that character.

CV: Can I conclude that the score is enough for you, when building a character?

JL: No, the score is not enough. The score is first and foremost what you go to. Without it you don’t have anything, because opera is drama and music put together. Therefore, first of all, I look at the music, I analyse it, I dissect it. Afterwards, I go through the music to see how it fits my voice. As I am a schoolgirl and love to do research, I study the period the opera was written in. I study the kind of woman my character is: what would she think about? what would she wear? I make subtext for music which is not supposed to be vocal. For instance, I’ll make a song out of orchestral music.

CV: You try to find your character’s emotions in orchestral music, isn’t it so?

JL: How can I not? And this kind of work makes a difference. Without it, the audience will merely say our rendition is nice. With it, we will be able to cause goose-pimples, our audience will be touched and will shout: “Brava”.

CV: You have said you make your interpretation choices before listening to recordings.

JL: I think I make my interpretation choices as I go. And lots of times, they are made on the moment, especially when recording. A recording is a snap shot in time. It reveals how you sound in a particular moment. There are recordings of mine in which I was too inexperienced. And I often wish I could sing that today, because it would be a hundred times better. But you don’t have that choice, since you have a certain amount of time in which to make a recording. Also, in singing, different people come together. When I am, for example, interpreting a duet between Estella and Carlo, if Carlo is sung by Bruce Ford, I will interpret Stella in a certain way. If Carlo is sung by Rockwell Blake, I’ll interpret her in another way. If my partner is Juan Diego Flórez, my interpretation will be completely different. As an actress and singer, I react to what my partners give me. Therefore, I never know how my interpretation will sound like. These reactions are, in a way, both spontaneous and intuitive. On stage, if you have a good director, he will give you the blocking. And then you have got to fill the blanks according to the character, the music, your own personality. As a result, no one will ever hear me singing the same piece the same way. That is why, I don’t get tired of singing a role. I have sung Rosina more than 500 times. It has to be a record in the opera world, since I don’t think anyone has sung it that much. Nonetheless, I have never grown tired of her. I get tired of running up and down the steps and going up and down the balcony. But I still love to sing Rosina, because it is different every time.

CV: You get to know Rosina better each time you sing her.

JL: Yes. And no one is one dimensional. Everyone has many facets to their personality. I really don’t see how anyone can do a role the same way all the time. They must be robots and it must get really boring, not only for the spectator, but also for the singer. On the contrary, I want to have fun and enjoy myself when singing. I want to get something out of it and give a lot back.

As Rosina (Photo credit: Winnie Klotz)

CV: Both in recordings and live performances, you have sung seldom, if ever, heard operas, such as Rossini’s Il Signor Bruschino, Le Comte Ory, Bianca e Falliero, Meyerbeer’s Les Huguenots and you will be recording Mercadante’s Ameleto.

JL: No, they have decided not to do that. At the moment, we are looking for another project. We are definitely going to do something else, but not Mercadante’s Ameleto. Talking about rarely performed operas, I have just come out with Elisabetta, Regina d’Inghilterra. I am very proud of my work in this Rossini opera and I love the music.

CV: Is it an intentional project of yours to perform less known operas?

JL: No. I am not trying to educate the public. That is not my goal. My goal is to do what I am good at. It is Patric Schmid, Opera Rara’s artistic director, that usually comes up with these ideas. Opera Rara means rare opera, therefore, since I am doing a lot of recordings with them – happily ! – I get to sing a lot of less known pieces. By the way, when Patric first talked to me about Elisabetta, Regina d’Inghilterra, I had my reservations about it, because I thought it was a high soprano part. I knew Montserrat Caballé and Leyla Gencer had sung it. Patric, however, asked me to, at least, look at the part and succeeded in convincing me to sing it.

CV: Since Elisabetta Regina d’Inghilterra had only been previously recorded by two sopranos (Caballé and Gencer) and you have recorded this Rossini opera as well, don’t you feel tempted to venture into the soprano repertoire as many mezzos did and are doing ?

JL: If the shoe fits, I’ll do what I want. Unfortunately, I do not know many soprano roles that would fit my voice. The Malibran roles, such as Elisabetta, are perfect for my voice. So, anything Maria Malibran did, I would do. I think that would be a healthy repertoire for my voice and I am already singing it, since Estella from Carlo di Borgogna or Rossini’s Bianca e Falliero were interpreted by Malibran. Obviously, every mezzo is tempted by the soprano repertoire and everyone wants to sing something different. But I am very lucky, because I like my repertoire, I feel extremely comfortable with it and I am good at it. I really don’t know what else I would do within the soprano repertoire. Just because someone has really good high notes, it doesn’t mean they can stay up there forever.

CV: Talking about heights, how high do you go when vocalising?

JL: It would depend on what I am singing that day. I have a huge range from low E flat up to high C sharp. I vocalise up to maybe G or A. It depends. Sometimes I go as high as a C, if I have to sing something with a C in it.

CV: Some sopranos have a hard time reaching those high Cs, which is why I ask you what you think a mezzo is?

JL: A real mezzo should have a great soprano range and an equally great alto range. And, above all, a very good middle range. It is the quality of the voice, its tone colour that tells you whether the singer is a mezzo or a soprano.

CV: When did you realise you were a mezzo?

JL: I always knew it. It was so obvious what I was. The timbre of my voice, the quality of my voice was decidedly mezzo soprano. Unfortunately, for some people, it is not obvious. Funnily enough, when I sang up high and because I have such a good high range, people would sometimes tell me: “Maybe you are a soprano”. But then I would sing down low and they would say: “Oh, a real alto!” I must be doing something right if people are liking every part of my voice. Moreover, I always felt very comfortable in the lower part of my voice, so I couldn’t really be a soprano.

CV: How has your voice evolved during your career?

JL: There has been an evolution ...

CV: I thought so, because I read you wanted to perform heavier mezzo roles, like Eboli or Dalila in the future. You don’t think they are heavy?

JL: No. The orchestration can be heavy in certain places. But if your voice is well produced, you should be able to sing everything you wish with the voice you have. Don’t try to make it anything that it is not. If I sing Dalila, I will sing it as Jennifer Larmore. I will not sing it as Regina Resnik.

CV: So you are not going to push or force your voice in order to sing these roles, I presume ...

JL: I would be the stupidest person in the world, if I did that. And I think some people are very stupid, when they push their voices to sing repertoire which is not for them.

CV: Has your voice become bigger and darker ?

JL: It sure has. It has become three to four times bigger than it was when I was young. When my voice was young, it was very sweet, refined and young sounding.

CV: How would you describe your voice now?

JL: I believe my voice has gained a certain amount of power, authority. There is a colour to it which is warm at times, steely when it is called for. It sounds more mature as well, but it has lost none of the coloratura ability which is very strange. Most often when a person has 15 or 16 years of career, the coloratura gets sloppy. Fortunately, that hasn’t happened to me.

CV: And your voice gained added colour and volume.

JL: Exactly. But I think that is normal, isn’t it?  It should be, because, when you grow older, shouldn’t things get better?  I think they should.

CV: Sometimes singers’ voices never change their tone colour or become darker, as is the case of Roberta Peters.

JL: But that could have been a choice of hers. Joan Sutherland advised singers to do the light repertoire as easy and as long as possible. And I think that is very smart, because it keeps you singing well and in a healthy place.

CV: But now you have decided to tackle heavier roles.

JL: I don’t now if it is a decision. It has been brought about by the natural evolution of my voice. Let me add something, it is natural to want more challenges after 16 years of singing. I am not changing my repertoire. I am adding to the repertoire. I will always do Handel, Rossini or the baroque operas I love with my whole heart. I’m not switching repertoire, just widening. I am trying to go with the evolution of my voice and the way I feel about life and singing.

CV: Besides Eboli and Dalila, what roles would you like to sing?

JL: Octavian (Der Rosenkavalier), the Composer (Ariadne auf Naxos), more bel canto operas and more less known operas which Patric Schmid finds for me to do.

CV: And what roles would you like to sing, but know you never will?

JL: Tosca. I would love to do Tosca.

CV: When you began your career, what were the roles you dreamt of?

JL: Carmen, Romeo and Dalila. It is nice to still have dreams at this stage of my career. By the way, I think that every mezzo’s dream is to do Carmen.

CV: Though you are mainly known as an outstanding Rossini and Handel interpreter, your repertoire is extremely wide-ranging and varied. It includes, for instance, a lot of religious music, such as: Mozart’s Mass in C minor, Duruflé’s Requiem, Vivaldi’s Magnificat, besides Rossini’s Stabat Mater and Handel’s Messiah. How different is your approach to religious music compared to opera?  Are you more restrained?

JL: When the music calls for restraint, I will be restrained. But I think there is a huge misconception, for example, about Bach. Bach you can dance to. Bach is fun. Bach gives you great freedom within a framework. I approach different religious music differently, depending on the character I am singing and the mood of the music.

CV: Your repertoire is also deeply impressive because of the various languages it is sung in: Italian, French (Pélleas et Mélisande, La Damnation de Faust, Werther), German (Hänsel und Gretel, Mahler’s Rückert Lieder, Lied von der Erde), Spanish (Falla’s El Amor Brujo) and obviously English (American songs by Copland and Barber). How do languages influence your work?

JL: Languages are the most important thing. I would advise a young singer to get his languages together first, because one has to know what one is saying. And this knowledge shouldn’t be superficial, for the singer ought to be aware of the double meanings and of what is hidden in between the words. You really need to know everything about what you are singing.
 

On performing & countertenors

As Giulio Cesare (Photo credit: Winnie Klotz)

CV: You have performed a lot of trouser roles from Rinaldo and Giulio Cesare to Orpheo and Arsace. How does it feel to be a man?

JL: It’s very easy playing a man.

CV: Is it?

JL: Look at me ! I am in pants, aren’t I? I am a woman of our times, not a woman of the 18th century with crinolines and bustles, a certain way of moving, a certain way of thinking and flicking the wrists. I am a woman of today. I am used to flat shoes, blue jeans, pants. Therefore, when I am on stage playing a man, it is physically easier and more comfortable. In addition, I do not believe that a male character is built by spreading my feet far wide apart. When I am playing a male character, I don’t even think about the physicality. If I am doing Giulio Cesare, I think of an authoritative character. I think of adjectives first and the rest takes care of itself.

CV: Part of your repertoire, mainly Handel, is being increasingly sung by countertenors. What is your opinion about the countertenor voice?

JL: Some countertenors I really like. Others bore me to tears. There is only one colour in the countertenor voice and that is my main problem with countertenors. It is a very interesting sound though.

CV: Do you think it suits the music they are singing?

JL: Very seldom. This is my honest opinion. Very seldom does it really enhance the music to use a countertenor, because their voice is capable of one sound only. And, for me, that is intensely boring. However, we do have some countertenors who are able to manipulate their voices. It is a very manipulative way of singing. Mind you I am not saying anything against them. I hope that is obvious. There are some countertenors who have such heart and soul. But no matter how much heart and soul they have, they are only going to be able to make that one sound.

CV: Lack of diversity in tone colour is your main problem with the countertenor voice.

JL: Exactly. If you take a mezzo soprano voice, you’ll have a myriad of colours, a rainbow of colours. And I think a countertenor has the disadvantage of not having that diversity at his disposal.

CV: You have sung for almost every type of audience. You performed at the closing ceremony of the Atlanta Olympic Games and, in 1991, you even sang in a court. Could you talk to us about that unique performance? How was it to sing in a court ?

JL: It was one of the weirdest experiences of my life. I went to court at 8 o’clock in the morning, because my husband had been given a speeding ticket. My audience was composed of people who had traffic violations and were not there to hear Jennifer Larmore. They were there just to pay their tickets and get out. Fortunately, at the end, everyone was clapping. It was very funny. It was a little and successful performance. I am sure I must have sounded terrible, but they didn’t know that which is why they clapped.

CV: What did you sing?

JL: “Una voce poco fa”, “Non più mesta” and “Verdi Prati” from Handel’s Alcina.

CV: In Washington 2002, you participated in Masterclasses and you have always said that you look forward to teaching. What would be the essential lessons or principles you would try to pass on to your students ?

JL: Above all, I would tell them each person is different. Each person has his own voice, his own outlook on life and singing. So I would not come in expecting to teach each person the same way. Just like I am a performer on stage who reacts to different colleagues, that’s the kind of teacher I will be. I will react differently to each student. Each singer has his own individual problems and needs. And I hope I will be a good enough teacher, so that I can see those problems or needs and respond to them.

CV: You won the Richard Tucker Award in 1994 and you were awarded the Chevalier des Arts et des Lettres by the French Government in 2002. How important is it for you to have your work recognised?  How important is applause?

JL: It means everything. It means that they recognise how hard you have worked. All I can say is it really means everything to me.

CV: And applause?

JL: Applause! Why do you sing? You sing because you like the sound of your own voice. Let’s be honest. If you don’t like your voice, you just don’t sing. And you also like the fact that people give you flowers, like you and applaud you for your singing. We work so hard. And I don’t think people have the faintest idea of how hard this life is and how much we give them. When critics write ugly things about you, you want to say: “Please, come with me for a week. See how much of my heart, of my soul and blood goes into my work. And then you would never write that.” But, unfortunately, they do not think about that. They only want to sell papers and magazines and cannot be objective. I think, nonetheless, that people should know that I personally have given my work and do continue to give it everything I have.

As Carmen (Photo credit: Thomas Mueller)

Nuno Miguel Marques is a Classical Voice correspondent in Lisbon, Portugal.

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