She holds a PhD in Performing Arts( Lisbon University) a Master Degree in Perceptive Psychopedagogics, two post-graduation qualifications: Art-therapy and Movement, and Somatic-psycho Education. (Lisbon and Porto Universities). Bachelor in Psychology, Lucia trained then as a classical singer in the Lisbon Conservatory, and continued her studies in London, with Peter Harrison, Liz Brice and Delia Lindon. Her education and researchhave been continuouslycomplemented with the attendance of several seminars in singing, movement, dramatic expression and communication (with Howard Sonnenklar, Polina Klimovitskaya, Jill Feldman, Paula Anglin, Bryan McHugh, Rudolph Knoll, Enza Ferrari, Elena Dumitresku-Nentwig and Janice Chapman).
Joining lyrical singing and a strong theatrical approach, she has performed as a soloist in recitals with piano, guitar and double-bass (with João Paulo Santos, Carla Seixas, Johann Jansonius, Alexandra Torrens, Anne Kaasa, Achille Pichi, Brian McKay, Pedro Wallenstein and others), with several baroque or contemporary groups, all over Portugal, England, Mozambique, Brazil and France, with a repertoire that ranges from French Mélodie, Portuguese songs and Lied, to Opera, Musicals and Contemporary. In Opera she has played: Amor de Perdição (Corifeu) at the Lisbon Opera and Brussels Europalia, The Beggars Opera (Polly), the Merry Widow (Jou Jou) at Macau Festival, La Traviatta (Annina), Nefertiti (Nefertiti), Britten’s The Beggars Opera (Jenny Diver), Sweeney Todd, (Chorus), A Orquidea Branca (Imperatriz) in Madeira, and La Voix Humaine (Elle), in Lisbon and other cities(2016, 2017, 2018, 2019). As a singer/actress she played in Beileira,Artaud Estúdio, and in A Portugueza (T. Maria Matos). She also had small appearances in film, and television.
She has taught vocal technique and singing since 1987. Her holistic approach to voice work (physical, emotional, reflexive and sensorial) looks for the autonomy of the singer, respecting the physiology and health of the vocal apparatus through developing perceptions (hearing and proprioception).
She has been invited to teach by several performance schools (Chapitô, Juventude Musical Portuguesa, IFICT, Teatro Maizum, Escola de Música de Linda-a-Velha, Acarte, Fórum Dança, TVI, Teatro Nacional D. Maria II, Cursos de Música de Cascais, Universidade Moderna, CEM, Orfeão de Leiria, Rádio Renascença, Companhia Instável, Teatro Municipal da Guarda, Add Voices, Universidade Lusófona, Artist, Associação de Hipnose Clínica, ISPA, Associação de Biossíntese and APar).
She sustains simultaneously a continuous private work mainly with classical singers, but also to other voice professionals, actors, dancers and speakers, supporting various shows in Opera, (S. Carlos and Gulbenkian) Jazz, musical-theater, theater,cinema and dance. She also prepared students to attend various singing competitions, with several prizes (in Fundação Rotária Portuguesa, Concurso Internacional de Canto Cidade do Fundão, International Rotary Opera Contest, Leyla Gencer e Grandi Vocci Salzburg) as well as auditions to national and international schools and Choirs offering continuous technique supervision to some of those students.She has frequently been asked to teach seminars all over Portugal (as well as in France, England and Brazil), helping singers in body and voice consciousness and also using voice asan avenue to personal growth and creativity development. She integrates Danis Bois 'Fasciatherapy supporting singers in stress and effort management, building a fluid posture and mind-body integration.
She has lectured in conferences for the World Voice Day and published in the Gazeta do Artista, and in scientific review Réciprocités, invited by the Centre d'Etude et de Recherche Appliquée en Psychopédagogie perceptive CERAP, in the books Research in Arts and Absurdity (2016) printed by Lisbon ESTC and Auckland University and Semear para colher, (2021) edited by Fundação GDA. She is a member of the research groups CERAP ( Universidade Fernando Pessoa, Porto) and CESEM (Universidade Nova, Lisboa).