Was born in the Brazilian city of Itu, in the state of São Paulo. Those knowledgeable concerning piano technique often compare her with the legendary Brazilian pianist Guiomar Novaes. “The splendor of both is in the enchantment that is found in the ‘interior’ of their music. It is as if the sounds  acquired the personalities of the performers themselves, independent of its physical nature, fruit of an inexplicable magic that guides the creation of an intangible beauty.”

She began her musical studies in her family home with the piano teacher Nayl Cavalcante Lucas, and after that studied at and graduated from the National School of Music in the class of Professor Neida Cavalcante Montarroyos. Possessing a solid background both in piano and the arts in general, obtained in prestigious European conservatories, Licia Lucas studied in Brazil with Homero de Magalhães, a disciple of Alfred Cortot, and in Italy, at the Santa Cecilia Conservatory of Rome, with Vincenzo Vitale, an artistic descendent of Thalberg and of Cesi, the latter having been -- at the invitation of Anton Rubinstein -- director of piano studies in Saint Petersburg  where Ms. Lucas was to perform many years later. She further perfected her piano technique with Bruno Seidlhofer and Hans Graf of the “Viennese school.”

She initiated her much praised career by winning first place at the competition for soloists of the Brazilian Symphonic Orchestra, interpreting Mozart’s “Coronation” Concerto under the direction of the conductor Eleazar de Carvalho. In Italy she conquered the Gold Medal at the International Viotti  Competition in Vercelli, being the youngest among all the competitors (the prize being presented by the president of the jury, the famous pianist Arturo Benedetti Michelangeli). Since then, she has performed with great success, both as recitalist  and soloist, with over 50 symphony orchestras in Europe, the United States  and Latin America.

Ms. Lucas was acclaimed when she performed on the famed stage of the Tchaikovsky Hall in Moscow as soloist with the Moscow State Philharmonic Symphony Orchestra, receiving  much praise from those in the press specialized in music criticism. The magazine Latin America, in an article signed by Natalia Constantinova, said:

“In the solemn inauguration ceremony at the Tchaikovsky Hall in Moscow, there appeared a charming woman, as modest as she was elegant. As soon as her fingers touched the first chords, the audience sensed the presence of a brilliant pianist capable of being compared with the foremost pianist anywhere in the world. The spell cast by this magnificent performance was only broken by the thunderous applause that followed.”

Licia Lucas performed in Russia at the legendary “Grand Hall of the St. Petersburg Philharmonic”. It has always been an honor and a sign of prestige to perform in this famous “Temple of Music,” to use the words of Van Cliburn in describing his emotion on being “on the same stage where Arthur Friedheim, Anton Rubinstein and the great Liszt once performed.” The name of the Brazilian pianist became part of this select group as she received a long ovation from the public assembled to hear her interpret Beethoven piano concerto No. 3 and the Chopin piano concerto No.2 with St. Petersburg Academic Symphony Orchestra on the evening of June 17, 2004 in this Concert Hall. Ms. Lucas has recorded with this orchestra Tchaikovsky No.1, Grieg in A minor, Beethoven No.3 and Chopin No.2 piano concertos.

Among her recordings, one can specially point to those done at the Tchaikovsky Hall in Moscow with the State Philharmonic Orchestra of Moscow; with the Philharmonic of Turin, Italy; and, in the United States, with the Arpeggione Kammerorchester of Austria; as well as video made for Brazil’s TV Globo in Rio de Janeiro with the National Symphonic Orchestra, as soloist of Bartók No.2 piano concerto. Nor can one fail to mention the CD recording on the “L’ART” label: “Il Barocco”, “24 Preludes of Chopin”; “Licia Lucas in Italy” (recorded at the Fazioli Concert Hall, in Sacile near Venice in 2008) and the CD “Licia Lucas in Russia” (the later being recorded with the Moscow Radio and Television Symphony Orchestra, as soloist of Rachmaninoff Nº 2 Piano Concerto and the Rhapsody on a Theme of Paganini).

For 4 years Licia Lucas was the coordinator of the Classical Music Department of the Nicaraguan Ministry of Culture in Managua and professor ex-cathedra of piano at the National School of Music in that same city. She has lectured and given masterclasses not only in Brazil but also in Argentina, Peru, Mexico, Italy, the United States, Puerto Rico and in various parts of Central America.
In Brazil, Ms. Lucas has been actively envolved in musical education as a permanent member and President of the National Academy of Music (2013-2016) and member of the “Comité d’Honneur” of the João de Souza Lima Foundation. In France she is “ Membre du Comitê d’Honneur de la Fondation Franz Liszt”. She is also Founder of the Nicaraguan Academy of Music and President-of-Honor of the Nicaraguan Youth Orchestra, having received the medal “Friend and Patron of National Art and Culture” of that country. In Brazil, as well, she has supported projects to aid many Youth orchestras.

Ms. Lucas has earned the admiration of an international public, as well as critical acclaim, after many years of great performances.

The Italian L’Osservatore Romano” observed that Ms. Lucas displayed “Intelligence and admirable poetic intuition,” adding that she showed “rhythmic sensitivity and dynamic clarity of playing which obtained the aproval and enthusiastic response of the audience.”

“Magnificent, glorious, sincere,” said the Diário Popular of São Paulo, Brazil, putting Licia Lucas on its list of the Best of Music. “Her interpretation rivals those of the greatest pianists such as Vladimir Horowitz.”

Has a doctorate from the University of Rome and a master of science degree in telecommunications from the Institute of Space Research (INPE) in São José dos Campos (Brazil). Among the projects he was worked on were the Brazilian station for ERTS satellite for surveillance of terrestrial resources (in collaboration with NASA – National Aeronautics and Space Administration). He also has worked in the field of acoustic engineering and has held positions of supervision and management in state and private companies both in Brazil and elsewhere.

Since 1974, he has devoted himself to artistic management and cultural productions, accompanying and supervising the recording of classical music. His technical activities in this area have brought him to twenty countries around the world.

The Genealogy of the piano - all rights reseved