I started with Ángela Laglera, my mother. She played the piano (and still plays well) and was my first music teacher. Later, I learned the piano, but studying at the conservatory bored me. I like the piano, but I consider it a fairly solitary instrument. I spent many long hours practising alone.

What made you decide to take up singing? Was it a premeditated decision or more by chance?

It was by chance. I was very young (14 years old), and I simply liked to sing, so I joined a choir that performed a lot of early music. It was my first contact with this music, and I stayed with the choir for a couple of years. It was an amateur choir in Zaragoza, and the experience was very gratifying. We were a group of young people with common musical interests. It was a period of discoveries. I still have good friends from that group, although none of them went on to make a career out of music. Later, I became more deeply involved and participated in the Daroca early music courses, which I attended without having studied singing at all. Later, I met Josep Benet, with whom I studied singing in Barcelona, and Jordi Alvareda.

You specialised in early music right from the very beginning. Why?

Frankly, for no special reason. In fact, my vocal studies weren’t centred around early music. My teachers taught me singing in general, and I also took a few short courses, but I began singing with early music and later it got me work. I also did a few short courses. The best training is undoubtedly work: to work with good musicians who influence and teach you a great deal (for example, Luis Antonio González Marín, who was recently awarded the National Research Prize, and especially Eduardo López-Banzo, with whom I continue to work).

How did you meet López-Banzo and get to form part of his group Al Ayre Español?