Born in 1963 in Piraeus, her initial studies were in piano and music theory at the Hellinicon Conservatory in Athens. Her first composition teacher in Athens was Yannis Ioanithis. Having gained her diploma in piano, she went to Holland to continue her compositional studies under the guidance of Louis Andriessen at the Royal Conservatory in The Hague. She graduated in December 1992. During her studies she received grants from the International Days of Contemporary Music in Darmstadt and the French Association 'Centre Acanthes', thanks to which she attended summer courses run by Messiaen, Xenakis, Boulez, and Feldman. In 1993 she won a three-month residency from the 'Pepiniéres for Young Artists' Foundation, to live and work in Budapest.
She has written music for many ensembles including the 'Nederlands Blazers', 'Xenakis Ensemble', 'de Volharding', the New Ensemble, the 'Renoir Ensemble', the Greek Metropolitan Choir, and 'Asko'. Her works are regularly performed at major new music venues in Europe and the United States. Pride of place goes to the Gaudeamus International Music Week in Amsterdam (1991 and 1993), the New Music Festival in Middelburg (1990 and 1992), Malta International Arts Festival (1991), 'Area de Musica' in Valencia, 'Focus' Festival in New York, 'Harpsichord Week' at the Ysbreker in Amsterdam, 'The Other Minds' Festival in San Francisco, 'Consequenza' in Rotterdam, the Holland Festival (1996), 'Confrontations' in Rotterdam (1998), 'Summergarden 1999', a series of concerts at the Museum of Modern Art Sculpture Garden in New York, and 'Radovljica' Festival in Slovenia (1998 and 2001). Her piece Sappho's Tears was among the works selected at the unesco International Composers' Rostrum in 1996. In 2001 she was invited by the Sweelinck Conservatory in Amsterdam as composer-in-residence to give lectures and workshops on her own music.

Selected works: Revealing Moonlight for alto flute (1987), Silver Moments for two pianos and two percussionists (1987), Mania for solo violin (1988), Music for Saxophones for saxophone quartet (1989), Visions of the Night for chamber ensemble (1989), Paraklitikon for chorus (1990), Sappho's Tears for violin, tenor flute and female voice (1990), Kentavros for wind ensemble, double-bass and piano (1991), Echoing Purple for violin and chamber ensemble (1992), Eros and Psyche for wind octet and double-bass (1992), Orphic Fields for flute, two harps and two pianos (1993), Common Passion for harpsichord (1994), Her Voice for harp (1994), Sweet If You Like for electric guitar, tuba, double-bass and percussion (1994), Ethra for flute, violin, viola, cello and harp (1995), Eppigramma for choir and orchestra (1995), Lineos for choir and chamber ensemble (1995), Ubi sum? for soprano and piano (1996), Interface for oboe, clarinet, alto saxophone, bassoon and bass clarinet (1996), Nostos for voice, octet (violin, recorder, electric guitar, bass clarinet, trombone, double-bass, percussion, piano) and tapes (1997), Siren (Nostos II) for chamber orchestra and performer (1997), E guerra e morte for mixed choir and Baroque ensemble (two Baroque violins, viola da gamba, theorbo) (1997), Calliope for solo flute (1998), Together for piano; two performers (1999), Viaje a la Luna for oboe, violin, viola, cello and bass guitar; music theatre based on the film script Viaje a la Luna by F. G. Lorca (1999), Enigma for solo violin (1999), 2000&1 for quartet of recorders (1999), The Hinting Gun for soprano (or three sopranos), violin/ viola, B flat clarinet / basset horn in F, cello and piano (2000), Vita Nova for alto and harpsichord (2000), Chorus for string quintet and saxophone quintet (2001), Rondo for Baroque violin solo (2001); incidental music for the theatre, dance music.

Vita Nova is the first part of a chamber opera based on Dante's Vita Nuova, the poet's diary about his love for Beatrice and her death. Written between 1292 and 1294, Vita Nuova was the first of Dante's great works. It consists of 31 poems, linked by the lyrical narrative prose, which extols love. The whole opera is to consist of six parts, in which excerpts from Vita Nuova will be interwoven into the music, scored for soprano, harpsichord and Baroque violin. Spoken fragments alternate with recitatives or vocal sections (Dante's sonnets). The language used in the piece moves from the English translations to the original Italian text. The full-scale chamber opera will have its first performance in the Korzo Theatre in The Hague in October 2003.