 According to Raul Nery, her voice is one of those rare examples of natural vocal placement based on the diaphragm and taking advantage of the resonance provided by the skull – which may have arisen from her early contact with liturgical musical repertoire, then still very operatic in nature.At the time of her youth, Fado had already entered the aristocratic environment, and was no longer confined to the marginal way of life of Lisbon’s taverns, dockyards and brothels.Her great-granduncle D. João do Carmo de Noronha and her brother D. Vasco de Noronha, as well as her acquaintances D. Pedro and D. António de Bragança (House of Lafões), were all renowned amateur fadistas.