Nowadays, Brazilian music follows the guidelines of both experimentalism and traditional music. Some of the contemporary Brazilian composers are Amaral Vieira, Sílvio Ferraz, Flo Menezes, Marcos Balter, Alexandre Lunsqui, Rodolfo Caesar, Felipe Lara, Edson Zampronha, Marcus Siqueira, Rodrigo Lima, Jorge Antunes, Roberto Victorio and João MacDowell. From the new generation of Brazilian composers, Caio Facó has achieved international recognition for his work. Brazil has a large number of internationally recognized orchestras and performers, despite the relatively low support of the government. The most famous Brazilian orchestra is probably the São Paulo State Symphony Orchestra, currently under conductor Thierry Fischer. Other Brazilian orchestras worthy of note are the São Paulo University Symphony, the Orquestra Sinfônica Brasileira, Orquestra Filarmônica de Minas Gerais and the Petrobras Sinfônica, supported by the Brazilian state oil company Petrobras. There are also regular operas scheduled every year in cities such as São Paulo and Rio de Janeiro. The state of São Paulo also hosts the Winter Festival in the city of Campos do Jordão. Some of the most famous Brazilian conductors are Roberto Minczuk, John Neschling and Isaac Karabtchevsky. The instrumentalists include, among others: Roberto Szidon, Antonio Meneses, Cussy de Almeida, Gilberto Tinetti, Arnaldo Cohen, Nelson Freire, Eudóxia de Barros, Guiomar Novaes and Magda Tagliaferro. And some of the most famous Brazilian singers were, historically, Zola Amaro, Constantina Araújo and Bidu Sayão; living singers include Eliane Coelho, Kismara Pessatti, Maria Lúcia Godoy, Sebastião Teixeira, and others. In the 1980s, a wave of Brazilian heavy metal bands gained public attention. The most commercially successful of these was Sepultura, founded in São Paulo in 1983, preceded by Dorsal Atlantica and followed by Sarcofago. The intrusion of alien elements into Brazil's cultural system is not a destructive process. The return of a democratic government allowed for freedom of expression. The Brazilian music industry opened up to international styles and this has allowed for both foreign and local genres to co-exist and identify people.