By Joana Patacas*, on April 3, 2024
In the vibrant universe of music, where constant sound evolution challenges artists to leave their mark, the voice of Nuno Dias emerges with an undeniable distinction.
In lyrical singing, as bass, his vocal register reaches the most intimate layers of the human soul with a remarkable ability to explore and transmit a wide range of emotional complexities, which are reflected in the richness and authenticity of his interpretations. This ability, combined with his mastery of the Coimbra guitar and a unique approach to the Coimbra Song, places him as a unique figure in the musical panorama.
“[What I love most about Guitarra de Coimbra is] its soul and poetic depth (…). When I express myself through this guitar, I can access feelings and thoughts that live in a very deep place within me.”, Nuno Dias, 2024.
With a late but determined start in musical studies, Nuno Dias' path was shaped both by family and cultural influence, and by a deep respect for Portuguese traditions. In this context, his work "Canções Pagãs", a tribute to Luiz Goes' songbook, stands out as an expression of his commitment to preservation and innovation within Portuguese musical heritage.
“Nuno Dias vocalizes with great sobriety and restraint (…). It could be said that Nuno Dias revisits Luis Goes in a game of convergence and divergence. Softer in the first scene, powerful and somewhat heroic in the second moment, moving towards a peaceful ending in the third act (…). What can be said is congratulations to Nuno Dias, hoping for other lieder and aesthetic leaders.” in Guitarra de Coimbra V (Cithara Conimbrigensis) , 2021.
In this interview conducted by Joana Patacas (JP), we shed light on the most memorable moments in the career of bass and guitarist Nuno Dias , in an invitation to reflect on the art of making music.
JP: How and at what age did you discover your passion for art?
Nuno: My musical journey started late. I was in contact with music from a very early age, either through learning an instrument or through contact with my father's Coimbra Guitar. However, I only started my studies at the Coimbra Music Conservatory, in Classical Guitar, as in Guitarra de Coimbra, when I was 19 years old. Singing entered my life at the age of 22, which culminated in obtaining my Degree in Singing from the University of Aveiro, in the class of professor Isabel Alcobia.
JP: Who were the main family references or idols that inspired you?
Nuno: In addition to this initial reference, which was my father, at Guitarra de Coimbra, the Paredes family (Artur and Carlos) has always been a very present brand in the aesthetics of Guitarra de Coimbra. When it comes to singing, I will always have as my greatest references, both aesthetic and artistic, Luiz Goes, in Coimbrão music, and Cesare Siepi and Nicolai Ghiaurov, in terms of lyrical singing.
JP: How did your professional singing career begin?
Nuno: The beginning of my career as a singer came quite naturally. As a student at the University of Aveiro, over the years, I had the opportunity to join the artistic program of the Orquestra Filarmonia das Beiras, under the direction of Maestro António Vassalo Lourenço, for whom I will always have enormous gratitude. It was a natural progression, combined with the emergence of new opportunities, inside and outside the country.
JP: What were the biggest challenges you faced in your career?
Nuno: Due to the late start of my technical studies on guitar and voice, one of my biggest challenges was making up for this lost time. Furthermore, I faced, and continue to face, the great challenge of believing in the potential and value of my music.
JP: And what strategies did you adopt to achieve the desired level of proficiency in these areas?
Nuno : In addition to enormous dedication and a strong work capacity, I always made a point of perfecting my musical skills with the best teachers, both in singing and guitar, even if that meant not being linked to a specific institution. I have developed a very refined critical capacity, which allows me, both when studying and on stage, to be fully aware of the path to be taken. I consider it equally crucial to have always remained connected to my references, as they are what keep me faithful to my roots and my essence.
JP: What was your first major achievement or recognition in the artistic world?
Nuno: I will always have the best memory of the Thierry Marmod Young Promise Award, won at the Verbier Music Festival, in 2013, by singers such as Barbara Bonney, Thomas Quasthoff and Claudio Desderi. It was a very beautiful moment that I will always remember with a smile.
JP: And can you share a moment that marked you during your participation in the Verbier Festival Opera Academy?
Nuno : It's difficult to choose a single moment in these three weeks in which I had the opportunity to learn a lot and spend time with such renowned singers. I was among very special human beings, who have the ability to transmit their energy in a very generous and intense way, which I was very pleased with. The constant contact with the public, who attended the work sessions every day, was equally remarkable due to its proximity both on and off the stage. It was as if the audience had become part of us. The greatest achievement I brought back from those mountains was, without a doubt, confidence! I learned to believe in my value and in the seriousness and quality of my work. When artists like Barbara Bonney, Thomas Quastoff or Claudio Desderi send us such beautiful and positive messages, it is impossible not to believe that we are on the right path.
JP: How did the grant from the Calouste Gulbenkian Foundation for the ENOA network influence your trajectory in the context of European opera?
Nuno : By awarding me this scholarship for several ENOA events, the Calouste Gulbenkian Foundation played a crucial role in my career as a singer. It was through this scholarship that I had the opportunity to meet and work with Tom Krause and Cláudio Desderi, who were fundamental in my vocal and artistic development. Furthermore, it allowed me to participate in operatic events outside of Portugal, which opened my horizons and exposed me to new social and artistic realities.
JP: Is there any performance, work or project that you feel particularly proud of?
Nuno: I am fortunate to have managed to make some of my biggest musical dreams come true, singing magnificent pieces such as the Requiem by G. Verdi, the Requiem by WA Mozart, the Requiem by G. Fauré, the Passion according to St. Matthew by JS Bach, and having played emblematic roles such as Philip II in the opera Don Carlo by G. Verdi and Sarastro in The Magic Flute by WA Mozart. However, I am especially proud of my work "Canções Pagãs", dedicated to the songbook by Luiz Goes, considered one of the greatest exponents of Coimbra's music.
JP: What motivated you to dedicate yourself to the “Canções Pagãs” project? Tell us about the creative and song selection process.
Nuno : This work has been in my head for a long time, since I was studying at the University of Aveiro. I'm passionate about Luiz Goes' music. During my degree, when I came into contact with the lieder of Franz Schubert, Robert Schumann, Hugo Wolf and even Johannes Brahms, I felt that there could be an approximation of the poetic language (musical and literary) of Luiz Goes to this musical style. So I thought: with the necessary adaptations, why not do a recital with Schumann's lieder and Goes' songs? I had the privilege of my great friend and superb musician Luís Figueiredo accepting to join this adventure and making the piano arrangements. We talked a lot, found meeting points, and Luís's creative freedom gave rise to this work, of which I am very proud. The songs were selected to create thematic cohesion. For this work we chose the following thematic cycles: “Songs of the Sea”, “Songs of Love” and “Pagãs Songs”.
JP: It is also part of the “Entre Mulheres” project, presented in 2022, which adds a female voice to the guitar from Coimbra. Tell us about it.
Nuno: The creation of "Entre Mulheres" was very important in my career and that of soprano Ana Paula Russo. It arose from the desire to explore new dimensions within Portuguese music and to challenge conventions, as this is a meeting between the female voice and the singularity of the Coimbra guitar. Choosing and adapting the themes was a careful exercise, in which we looked for pieces not only for their melody and lyrical meaning, but also for their connection to our cultural origins. Ana Paula Russo and I, based on the collection made by Michel Giacometti, selected themes from various regions, such as Trás-os-Montes, Beiras and Alentejo, which reflect the variety and depth of our musical heritage. Each arrangement was designed to value the guitar and the voice equally, ensuring that both enrich each other. We also sought to honor the legacy of Carlos Paredes and open paths for the expression of Portuguese cultural identity through music.
JP: He was a student and later Assistant Professor at the University of Aveiro. Do you like teaching? What impact did this experience have on your personal and professional development?
Nuno : I really enjoy teaching and I remember the period in which I taught with great pride. During the 2013/14 academic year, in a context of deep sharing and closeness with Professor Isabel Alcobia, whom I greatly thank for her trust, I was able to develop very positive work with the singing students at the University of Aveiro. It was an extremely demanding year, during which I also matured as a person and a singer. The act of sharing knowledge challenges us to continually improve and makes us become the best version of ourselves in each class we teach. The receptivity of most students and the recognition of Professor Isabel was something that filled my soul.
JP: Is there any curiosity or interesting fact about yourself that you would like to share?
Nuno : I am passionate about the Coimbra Guitar, an instrument whose language I am diligently exploring.
JP: What do you love about this instrument?
Nuno : Your soul and your poetic depth. The music of Paredes (Carlos and Artur) or Goes has the power to move me deeply. When I express myself through this guitar, I can access feelings and thoughts that live in a very deep place within me.
JP: What are your hobbies or leisure activities?
Nuno: I have a huge taste for photography, sport and classic cars. Before music definitively entered my life, I was a mechanical engineering student in Coimbra, due to my passion for the automotive world.
JP: What do you hope to achieve in the coming years?
Nuno : I hope to relaunch my artistic career after a period of break. After my stay in Bern, where I worked as a resident singer at the Stadttheatre Bern (an opera and theater house in Bern, Switzerland) in the 2014/15 season, I joined the Choir of the National Theater of São Carlos, because I wanted to return home and be closer to my family. This choice led to less visibility of my activity as a soloist. Furthermore, at that time, I left the guitar aside... Now, little by little, I am returning to singing and the guitar and trying to dismantle the stereotypes associated with the role of a chorister. I also resumed the work routines that allowed me to reach the level of recognition I had in the past. Life is made of cycles and I feel that a new, very bright cycle is beginning.
JP: Would you like to share anything with your audience?
Nuno : In the certainty that everything will not always go as we wish, I return serenely, knowing that I do everything, with a full heart, to reach everyone who listens to me.
JP: What advice do you have for the future generation of musicians and singers?
Nuno : Be rigorous and sincere, hardworking and dreamy. Above all, live life as a beautiful and profound love poem.
*Interview with lyrical singer Nuno Dias originally published at www.proart.art
Joana Patacas - Communication and Content Consultancy
Want to know more? See and listen to two of their beautiful performances below:
You can find more information about Nuno Dias at:
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