The creation of the Calouste Gulbenkian Foundation, in 1956, quickly had a decisive impact, at various levels, on Portuguese musical life, through a varied set of initiatives promoted by its Music Service, driven by its first director, Madalena de Azeredo Perdigão.¹ Among these initiatives was the sponsorship granted, between 1961 and 1963, to an external project, the Grupo Experimental de Ópera de Câmara, directed by conductor and composer Filipe de Sousa and made up of national performers. In the short period of its existence, it explored repertoire from the 18th and 20th centuries, namely works by Cimarosa, Mozart, Pergolesi, as well as Busoni, Jean Françaix, Menotti and Stravinski. This was an innovative experience in Portugal, but the cold reception from the general public led to the Music Service ceasing its support, transferring it to the new Portuguese Opera Company recently created at Teatro da Trindade. ²
