Diogo Gaio Chaves

Diogo Gaio Chaves (1997) – from Castelo de Vide – began his musical studies at Banda União Artística, completing the Basic Trumpet Course at the Escola de Artes do Norte Alentejano – with Adriano Franco and João César – and the Secondary Composition Course at Escola de Música do Conservatório Nacional – with Daniel Schvetz.

He holds a Bachelor in International Relations from ISCSP/ULisboa, and a Post-Graduation in Aesthetics and Artistic Studies – Musical Arts and Musicology from FCSH/NOVA. Currently, he is pursuing a Master in Historical Musicology with the project “Analysis, Practical Edition, and Staging Proposal of Portuguese Eighteenth-Century Opera: Jerónimo Francisco de Lima’s La Vera Costanza – Dramma Giocoso (1785 and 1789)” – under the supervision of João Pedro Cachopo – and he studies Voice at EMCN with Manuela de Sá, having studied with António Wagner Diniz from 2019 to 2022.

He contributed for Eva Rieger’s book “Isolde. Richard Wagners Tochter: Eine unversöhnliche Familiengeschichte” collecting and translating information about the premiere of Wagner’s Der Ring des Nibelungen at Lisbon’s Teatro de São Carlos in 1909. He attended the Clóvis Salgado Foundation and Palácio das Artes “Online Opera Creation Atelier” under the curatorship of Gabriel Rhein-Schirato, and Lívia Sabag.

He is a baritone at Nova Era Vocal Ensemble (dir. João Barros). At EMCN he was part of the choir “Musaico” (dir. Tiago Marques); the early music ensemble “L’Heure du Thé” (dir. Helena Raposo) and of various Art Song Duos. He is part of the Opera Studio since 2021 (dir. Ana Paula Russo, José Brandão, and Rúben Saints) having performed the role of Norton in Rossini’s La Cambiale di Matrimonio and other roles and choir parts in excerpts of Leal Moreira’s A Saloia Enamorada and A Vingança da Cigana; Mozart’s Le Nozze di Figaro and Die Zauberflöte; Donizetti’s L’Elisir d’Amore; Bernstein’s Candide; Purcell’s Dido and Aeneas, and Lehár’s Die Lustige Witwe, and Giuditta.

As a soloist, he sang Purcell’s Sing unto the Lord; Durante’s Magnificat; Franck’s Dextera Domini, and Mass in A Major; and Haydn’s Missa in Tempore Belli. He was the Artistic Coordinator at Magna Tuna ApocalISCSPiana, responsible for transcriptions for the CD Os 25 Viraram 30. He teaches History of Arts and Culture at Conservatório Regional do Alto Alentejo and at Escola de Artes do Norte Alentejano.

March 2023