Winner of more than 30 awards (13 first prizes) in national and Latin American piano competitions, the pianist has a solid background in Brazil, improved in the Hochschule für Musik Karlsruhe, Germany. Since 2014, she is professor of piano, recital and chamber music at UNIRIO. Marina concluded her BA in Piano at UFRJ, her Master's in Musicology at the Federal University of the State of Rio de Janeiro - UNIRIO and is currently pursuing a PhD in Performance Studies at the University of Aveiro, in Portugal. Often invited to perform in the most important concert halls in Brasil, Marina has also received warm praise from specialized critics, mainly for her participation in events related to contemporary Brazilian music, such as the Bienal de Música Brasileira Contemporânea do Rio de Janeiro.Beyond solo career, the pianist develops chamber works alongside excellent musicians, such as Daniel Guedes, Veruschka Mainhard, Ana Letícia Barros and Batista Jr. She has performed several times to perform as soloist of important orchestras in Brazil, such as the National Symphony Orchestra from UFF, OSB Ópera e Repertório, OSB Jovem, USP Symphony Orchestra, UFRJ Symphony Orchestra and Americana Symphony Orchestra, and in these concerts he had the opportunity to work with important conductors: Roberto Duarte, Lutero Rodrigues, Ligia Amadio, Luiz Petri, Ronaldo Bologna, Guilherme Bernstein, Ernani Aguiar and Carlos Lima. As a member of the group PianOrquestra, she performed in fourteen countries in Europe and in the Americas.She is a member of the Abstrai Ensemble, a group dedicated to the performance of contemporary works, which released the CD Experiência in 2018. She also joins the Trio Paineiras, alongside Marco Catto and Batista Jr., with whom in 2017 she released the CD “Trio Paineiras interprets composers of today ”, with works written specially for the trio.

This research project presents a proposal of expansion of the role of performance in the classical music context, through creation based on pre-existent compositions, in collaboration with brazilian composers. Oriented by practice-based methodologies and in reconfigurations of the notion of musical work and performance (Assis, 2018); structured by the concept of intertextuality and musical rewriting (Kristeva, 1969; Penha, 2010); using methodologies from the Archeology of Knowledge (Foucault, 1969), from collaborative autoethnography (Chang et al., 2013) and creative collaboration (John-Steiner, 2000), we will accomplish at least four case studies of musical co-creation.