Giselle Lage does not sing. She makes much more as in love with her voice and caresses the ear.

Looking at her with herslight figure and not large, not imagine being able to fill a stage, engage the audience and make them accomplices. With microphone in hand, it becomes a queen.
She moves with surprising versatility between the genres of Cuban music, it seems that none are reluctant, though fond of tangos and Brazilian rhythms, which in the opinion of this journalist, achieved a strange feeling also confesses, because not stop be foreign, or leave that Cuban stamp.

Giselle Lage is undoubtedly one of the new voices gold Santiago de Cuba perhaps the most sweetly, in a land that appears to be blessed in great artists.

- How difficult is it for a young artist to break into a major musical plaza as is Santiago de Cuba?

For every young artist there are many challenges, and in Santiago de Cuba more so as there is a sound heritage that must be respected.

Currently it is difficult; there are numerous places where young artists can develop their work, but still perhaps missing some new initiatives that promote more exchanges among the rookies.

These new spaces to which I refer also have, in turn, the challenge of not isolating the movement of young people who already have experience, I do not think should be distant generations.

It is about creating projects where both groups converge, both artists and a solid career as those new figures just talented, that would lead to an enrichment of all; the first would be updated and the latter learn from experience.
For young people like me have pride in being professional and belong to a catalog, as is Miguel Matamoros, sometimes we come to some institutions where I think missing initiatives have ideas but lack, eg fundraising.
Another situation happens with sites already exist that are sometimes embedded in a certain genre, as it is a place designed only for trova.
Boleros space UNEAC, for example, is a beautiful place where you can enjoy the genre, but I think there is a lack of young artists, and one reason is that most of the new voices of the province not still belong to the National Union of Writers and Artists of Cuba, although other organizations that serve as precedent, as the Hermanos Saiz Association, and are more suited to our age.
The latter think there could be valued as many young musicians from Santiago, and very talented, we would like to include us in the nights of bolero UNEAC.
- How Giselle has faced in his career, the various obstacles?

I'm into music since he was six, imagine all that I have faced over the years.
There are always obstacles that we have to deal in the art world, which can sometimes be very hostile, but I think the most important thing is to be true to yourself and stay upright, and have great faith in what you do, in your job.
Always do, create and display their work.
Every youth should know that things are not going to be easy, there is a long road to be styling. In my case, for example, I had to deal with important musicians of prestige, but sometimes have some resistance to the youth movement, and should not, because we do not want at all to deny the longest generations, unlike it is his work that nourishes us.

- Why Giselle Lage is defined as an interpreter, and not as a bolero singer or troubadour, who are close to you gender, your race and our city?
Because I'm an artist who is in constant search and discovery of new themes and genres. I impose challenges in interpreting and choosing my repertoire.
Sometimes I lean more towards gender issues to themselves, and that is what has led me to explore rhythms that before even thinking interpret.
For example, I have in my repertoire some tangos, before or dreamed to sing, it was then that at some point became a challenge for me.
That way I have ventured to other genres such as jazz, which is the most recent addition, he always struck me until today fulfill that dream, I have a space and fixed group that I stand in the Iris Jazz Club all on Monday.

- What possibilities or difficulties you had for this artistic versatility?
It allows me to adjust to different spaces, in turn, according to the type of audience, may have difficulty and is to establish a language barrier.
But as the saying goes, music is a universal language, so many things are enjoyed, melody, orchestration, musical arrangements, that language is in the background.

- Your artistic interests go beyond singing or piano teaching, which has also ventured area. You're hosting a rock, Chronicles of My City, how hard is it to keep a space like this and what have been your greatest reward?
The rock has more than two years. I realize every second Friday of every month, at four in the afternoon, in the Heredia House.
My City Chronicles came to me by chance, were looking for a proposal for a cultural rock, and someone said my name.
This art is addressed in Santiago de Cuba in general.
Having a regular audience is a challenge as it is to look at each new edition an interesting proposal.
- You're young and still widely known in Santiago de Cuba. What are for you the causes of this affection that you profess?

All artists must be true to its essence, the public respect both when expressed as a concert, because we owe it to them completely.

We must also improve ourselves constantly, I think that what we offer to others should be the best that we are capable of giving, we should not settle and we must avoid stagnation.