When they ask me to write something about Susana, I realise how difficult it is to talk about her without it coming across as paternal love. As such, I never forget about that small and clumsy girl, holding a broomstick as if it were a microphone, singing, dancing and imitating Spanish singer Miguel Bosé.

Showing her the fingering positions on a recorder, a chanter and the keyboard of what is now an old Farfisa organ, was like sowing seeds on fertile land, we immediately realised that she had a special gift, a musical ear capable of learning a song the first time around.

We were excited with that integral artistic musicality: singing, dancing, gaita, recorder, piano and Galician percussion instruments: ‘vieiras’ (scallop shells), ‘pandereta’ (tambourine), ‘tambor’ (side drum), ‘bombo’ (bass drum). From the beginning, she realised whether the gaita was in tune or not and insisted on us correcting it for her. Regarding the gaita, some told me that she was going to ‘explode’, others that at the age of fifteen or sixteen she would lose interest.

She admired the bagpipers and the bagpipers were equally astonished with her. At the age of ten she was asked to appear at a multitude of festivals, sharing the stage with Ricardo Portela, Moxenas, Henrique Otero, Juanjo Fernández, Os Rosales, Milladoiro…, who would influence her career greatly.