"Which instrument do you want to pick?" in my musical family, that's the most natural thing to ask to a four-year-old.

Growing up, music was more important than school really, and my mother didn't hesitate to call in sick for us if she thought we had better things to do, like going to a concert, a theater show, hiking in the Pyrenees, going to an exhibition or go see the last movie of this unknown and very promising Polish filmmaker. Yes, my brothers, sister and I had an unusual childhood.

So I chose the piano because it was loud, and big, and it sounded like water to me.

Then I decided to play the Viola di gamba, the harpsichord, and started singing in my mother's school of performing arts. Going on stage was so fun, I remember the excitement, the rehearsals way past our bedtime, the hectic confusion before the premiere.

I started dancing, acting, and soon there was no time left to go to an actual school, so I was home-schooled until I graduated. My house was always filled with music, it was messy, noisy, lively. My Mother sang gregorian and early music, my Dad loved jazz and rock music (he introduced me to my most long-running love story, The Beatles) and we could never fall asleep without our favourite record of Italian baroque music (Stefano Landi by l'Appergiata ensemble !)

After superior studies in the École Normale de Musique de Paris in piano and chamber music, I decided it was not for me. Piano is very solitary, very cerebral, very austere in a way. I was getting gloomy and lonely. I wanted to do Musical Theatre!

That's where I met Elodie Pont and Manon Cousin, in that musical theatre school in Paris, and completely randomly, for one show originally, we formed an acapella trio. We were in a rush, so each of us brought the scores they had at home. Early music for me, world music for Elodie, jazz and chansons françaises for Manon. Little did we know that five years later we would still sing together ! It has been an incredible journey and our repertoire covers now 9 centuries of music in 30 different languages.

I remember the first time I listened to ANÚNA. We were looking for music to sing with Les Itinérantes, and I've always been fascinated by Irish music (my father never misses opportunities to play the spoons and is a fervent Celtic music lover). I was star-struck. I think it's the first time I realised music could be seen. It was a whole new experience. It was landscapes, it was colours, it was a painting, a piece of silky cloth, a stream running down, the gentle caress of the wind, the never-ending dance of the waves. It was cloudy, sunny and stormy. It was that quiet stillness before dawn breaks. ANÚNA is about texture, it's a feeling, it's a movement. It was like nothing I've heard before. The Irish language sounded like a spell to me, filled with ancient magic. Michael McGlynn's music was like a gate to the abstract world. A mystical world I would gladly escape to. And I actually can now that I've joined ANÚNA ! I feel incredibly lucky to share this mesmerizing music with such talented musicians from all around the world.