Future Classic Women Awards LIVE SHOW – Genia

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing new female artists in the classical panorama. Today our guest is Xenia, a Russian composer, pianist, British citizen as well, so double nationality. How do you What do you think about this? What do I think about what? Being Russian and British. Oh gosh, it's— yes, I actually have more mixture because I actually was born in former Soviet Union. I speak Russian and my parents are Russian, but not, you know, many years ago Soviet Union collapsed and the part where I was born became Ukraine. All right. So I have a total mixture. I'm Russian-born, former Ukrainian, well, Ukrainian and now British citizen. But I always say I'm a citizen of the world, really. That's exactly what it is. I mean, I'm sorry we're starting political, but you know, we have this Brexit over our head, really. It's unbelievable. Absolutely. And we're so lucky to have the European Union. I had friends from Russia as well having problem with the visa, amazing talent. And you are a super talent, super composer, —pianist, and you have British citizenship. But, you know, we should be all citizens of the world, isn't it? Absolutely. I mean, this Brexit is like going back, backward instead of going forward. Well, absolutely, because I think also now in the times of the internet, there's no boundaries. Absolutely. You know, you can speak within a second with someone from United States or from Russia or from Ukraine or from Africa, and you can communicate and you can walk and you can do a lot of things. Putting extra binaries, I think it's actually a massive complication. It's above all really, is really where I mean, we're thinking about moving to Mars and looking at, of course, interplanetary lives. And it's all scientific, it's all real. And we have this amazing world and this amazing planet. And instead of living on it together and making beautiful music and art, we just Absolutely, absolutely. I mean, London especially, because I mean, I'm so grateful to this country, to the UK, because it gave me an opportunity to develop as an artist. Because I think it was economically so wealthy and progressed, so there were a lot of help given to the arts. So when I came to London, I came on a scholarship. Yeah. And so, you know, they were very kind to me. They paid for me to study at the Guildhall School of Music and Drama, and this is how my career started. Now, if they didn't have these funds, if economically they were weak, I don't think I would have this opportunity, and I think many other musicians who live in London, or artists, lots of talented people wouldn't be able to be here. Well, you know, I'm Italian, and I come from amazing music academies and everything, and then I was offered this place at Royal Academy of Music for postgraduate. And when I arrived here, I realized that London and the UK in general are like the center of the music world, really, because they are in such a position, they are a bridge with America and with Europe and everything. And it's a very special place, isn't it? Absolutely, yes. And so I want to talk about your new album. I was very fortunate to be at the launch of the album last Thursday at the Treehouse in Shoreditch. Yes. What an amazing location, isn't it? Yes, yes. This beautiful study. Oh, a dream. I'd like to— I was ready to move in, really. It's the dream place for any pianist. Yes, absolutely. You want to tell us about your new album? So my new album is called Babylon, and the reason again I brought it at this time, because we all know the history of Babylon. It was a very advanced civilization. Yep. And it was developed to the highest degree in its science, art, obviously economically it was glowing. And then it was, it got destroyed, but it wasn't destroyed from the outside, and that's the whole irony of it. It got destroyed from inside, from its own, citizens who wanted autonomy. Absolutely. You know, and that's how basically the whole civilization collapsed. It was destroyed. And because of the times— Let's hope that doesn't happen here. Well, exactly. But I think every artist, I think these days it's very hard to be non-involved into reality. Absolutely. And so I felt that that was kind of my input. And I just want people to become aware of these parallels. And that's why I'm bringing my album Babylon now. And it has— I think that some of the tracks have this intensity and a little bit of nervousness, you know. Everything which we experience right now in our society is in this album. And I want people to kind of become more aware and see, look guys, it happened, it happened many, many years ago. Please be careful. In particular, there was the track that I told you I loved from your album, it was the one that you composed on the Eurostar coming back from Paris. So thinking about this freedom of traveling and going to Paris and coming back and living here and, you know, or anywhere. So that's something that might be jeopardized by this new politics. Absolutely. So what was the title of that beautiful piece? That is actually Departure, but that was from the— Departure? But that was from the previous album. Oh, it's different. Yes, because I travel a lot, so the previous album I wrote a lot of tracks between London and Paris, and so it had a lot of traveling. Exactly. But it's— yes. I want to talk more about traveling, but the first tracks that we're going to listen today from your album is Synergy. Do you want to tell us something about this piece? Well, I think people can listen to it and make their own conclusion, but synergy means a combination of different elements, isn't it? So it's more kind of philosophical concept on something small and something big and how it unites. So it's again, it's the same kind of theory, but in the philosophical rather than— There was another thing that really struck me from your album presentation, that you mixed your pieces from old albums and the new upcoming album with classical pieces to curate. Because Jeanne is also not just a composer and pianist who plays her own pieces, but she's an amazing concert pianist. So you played Chopin ballades, you played Beethoven. So What do you think about classical music today? Well, I think classical music is still very valid and is very beautiful music, and I just think people sometimes treat it with too much care, you know, but at their own time classical music was the music of the day. And I think if you— what I'm trying to do, just play classical music amongst modern music, and you can still see that people very much connect to it. It doesn't make them feel, oh, it's classical music, I don't feel anything. They still have the same emotions, you know, happiness or being a little bit sad. It still touches the heart, you know. If the music is beautiful, it doesn't have time, it doesn't have expiry date. Indeed. And that's why I think they worked so well together, completely modern music and, uh, classical. I mean, it's just music, it's just music. And obviously me, I've played piano since I was 4, and I think I played All, everything I compose, of course, it's influenced by everything I played consciously or subconsciously. And so that was like my acknowledgement to my ancestors, to my inheritance, you know, that's why I played Chopin and Beethoven, Rachmaninoff, of course. Rachmaninoff, I want to talk more about Rachmaninoff. Well, let's listen to Synergy. And this was Synergy from Babylon, the new album by Xenia. We're going to talk more about after a short break. Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. Hello. And welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station. Hello and welcome to Judy May Is Listening. Hello, this is Anna Kennedy at Women's Radio Station Live, voice of women worldwide, talking about all things autism. Women, the possibilities are endless. That's what makes us different. I'm Saskia at Sable Forex, and we specialize in saving individuals and companies' money on their international money transfers or foreign exchange. So when money's crossing currencies, whether it's euros to yen or rands to pounds, that's where we can add value. So for all your foreign exchange needs, I'm Saskia at Sable. You can contact me on saskia.johnston@sableinternational.com, or my number is 0207 759 7541. Hi, I'm Helen Prosper. I'm a health coach and I support people to take back control of their health so they feel radiantly well and vibrantly alive, because it's from that place of health that we really can do more, be more, give more, play more, and co-create a better world. If living your life to the full is of interest to you, then take a look at my website, livewellandprosper.uk. And let's speak soon. Do you need mediation? We are the A-Project Charity. We provide conflict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea project.co.uk. Women's Radio Station can give a voice to your brand with a wide range of sponsorship opportunities, including individual programs. We can tailor your experience to you. For more information on how you can sponsor a show, go to womensradiostation.com. Women, the possibilities are endless. That's what makes us different. Hi, I'm Zina Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station, the programme where we search for the most amazing new female artists. On the Classical Panorama. And today we have a very amazing artist that is Zhenya. Zhenya is a Russian composer and pianist. And Zhenya, we've been talking about your amazing album, and you mentioned that you started playing at 4 years old. So how did that happen? How did you decide to become a— when did you know you would become also a professional pianist composer? I don't think I ever knew that. I think it was part of like my life because when I was 4, my great-grandmother, who was herself an amazing pianist and she was very well-known teacher in the Soviet Union, Regina Horowitz, she bought me upright piano. And I started playing, but because she was playing and music was always in the house, it was the same as, you know, as cleaning teeth. You didn't really think about it. You just played it. And then I was in this special school for gifted children. And of course, we had to practice a lot. But again, it was very organic. And during that time, I, for a while, I did ballet very seriously. And then my parents were told, look, because it's Russia, in Russia you had to be, do everything to perfection. So they were told, either you're doing ballet from the age of 8, you commit into ballet or piano. And my parents, because I'm so small, piano probably would be better. Okay. So yes, and then when I was teenager, I was very much involved in the theatre and acting. And my mum, and my mother at some point got quite cross with me and she said again, you're either going to cinema, become an actress, and then I'm taking you out of this music school, or you continue with the music. Wow. It was very tough, yes. And I thought, well, I can't really stop music. It's not like I made a decision to be it, but music was always part. It was not for me, it wasn't even a question. So this is how kind of my— and then when I was at Conservatoire, that was completely different situation because Ukraine just separated and economy was in a terrible state. So people just didn't have money. And my parents, they both worked at universities. They were not paid for 6 months. It was very difficult financially. So everyone was trying to find means of making extra income. And I ended up writing for a newspaper as a journalist. No way! And about art, about anything to do with art. They gave me, they said, write what you want, and I absolutely loved it. So it was like another thing. So I always try to do different things, but music was always part of what I did, like the main thing. Eugenia, I don't believe you, you know. I didn't do it for, because I needed to, but because I wanted to. Somehow my path is very similar to yours. I as well wrote for the newspaper, although I wanted to go to concerts for free. Ah. And they already had the music critic, so they made me write for politics. So I was writing for the hottest politics problems that were ending up in first page. But still, we have the same background. When is your birthday? November 29th. All right. So you are Sagittarius. Sagittarius. And you? So I'm a Libra, but I'm a Sag— My moon sign is in Libra. And my moon sign is Sagittarius. No way. Let's not talk about, you know, we've been talking before about horoscope, but you don't believe in that, but I can't believe it. So we are like twin sisters with different fathers. Now you mentioned Horowitz, your great-grandmother. Yes. So was she related to the great pianist Vladimir Horowitz? Yes, she was his sister. My gosh. So Vladimir Horowitz is my super very favorite pianist. Ever. It was my very first album. I remember I recorded over, listened to it over and over again in tape, you know. Yeah. Yes. So how is it? I mean, did you meet with— no, because I did. No, because he came to Russia, to Moscow. Yeah. In 1986. Yeah, for a concert. Yes. So my grandmother spent all the time with him and my grandfather, and my mom took me there just it was a famous concert. Yeah. And we spent a few days before with the family, the whole family. So yes, I did meet him. Did you play for him? No. Oh, my mother didn't think I was good enough to play for him. Oh my gosh. I know. All right, so how was meeting with— I mean, it's a part of your family, so I mean— Yes, but you know what, when I— It's not the same. I have to tell you, when I saw him in a doorway, I almost froze because he looks so much like my great-grandmother, and unfortunately she passed away 2 years prior to that. So it was like seeing her reincarnated, and I was a bit— I was shocked. But then when that— because they were so similar, you know, when they get older, they are so similar, but they even talk in the same way. Their gestures were the same, their spots on their hands were the same. Oh, wow. The same intonation and sense of humor. So that was very much so. Once I realized that it's not her, it's actually him. Yes. Yeah, it was just a family member. It was a family, yes. Wow. And did he inspire you? Of course. You know, when I was very little, because I was born, I was brought up on his records, and when I was 6 or 5 or 6, I remember actually listening to the ballad and crying a lot. Oh yeah, I have that album. And then I thought, oh, but I didn't realize that it was just him. Because I was very little, I thought, oh, it's probably all grown-ups play like this, so I don't think I'll ever be good enough to play it. That was— but he was for me always a symbol of perfection. Yeah. You know, well, although he wasn't perfect, was he? He wasn't perfect at all. But, but that's, I think, what makes him so unique. He had— I can tell you because I heard him live, his sound, and it's not because we are related, is one of the most incredible sounds I ever heard. Yeah, his sound, the sound he gets out of the piano goes straight into your heart and goes past your consciousness. It just makes you feel things you don't know you can. And I think that's what made him so amazing. Amazing. So it was very interesting, you know, sometimes you, you use your name Zhenya and you don't really go around saying, oh, I'm the great-grandmother. Oh no, I don't like that. You see that off all of it. But what do you think, how is it to have in your blood, you know, such genius blood that is running into your vein. Do you think, do you feel that? No, I definitely don't feel like this. And I can tell you that I think you can have amazing ancestors and you can be completely useless, you know, and vice versa. I know people who are amazing and their ancestors actors were not that amazing in what these people achieved, you know. So no, but it was a good thing and bad thing. I mean, I guess the difficulty for me was to find my own voice as an artist, because obviously having such a giant behind you, you would never be as good as him. Come on, it's even ridiculous. So it was— I think this is why consciously for many years I completely took his name out of all my biographies. And it was difficult because my great-grandmother was my first teacher, so obviously I loved her. And if it wasn't for her, by the way, I wouldn't be playing piano because she made it so much fun. And it was easy. It was like— this is what I'm still saying, playing piano, it's enjoyment, you know, it's not such a hard work. Sometimes it is, but in general, And so now I guess it's easier for me because of me writing my music and, you know, doing other things in life. There is a big thing about, I don't know, being a composer and being a pianist. So for example, we were talking about Rachmaninoff, who was a super concert pianist, at the same time he wrote amazing music. So how do you feel— is there any fight between you as a pianist and the composer itself when you play the great pianists, the great composers? Or like, is the pianist split from the composer, or they're good together? No, they're very much together. I mean, I write mainly piano music because that's what I feel I'm very competent and I know, and it's easy and it's a language I can express myself. So my piano skills help me as a composer. The only downside, if I compose for a long time, I start getting these little nudges, oh, my technique is going down, I really need to practice, because that's, that's, so that is a little bit I need to watch out. So the next piece that we want to listen to is called Athena. Yes, the goddess of war. The Goddess of War. Let's listen to it. Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station. Hello and welcome to Judy May Is Listening Hello, this is Anna Kennedy at Women's Radio Station Live, voice of women worldwide, talking about all things autism. Women, the possibilities are endless. That's what makes us different. I'm Saskia at Sable Forex, and we specialize in saving individuals and companies money on their international money transfers or foreign exchange. So when money's crossing currencies, whether it's euros to yen or rands to pounds, That's where we can add value. So for all your foreign exchange needs, I'm Saskia at Sable. You can contact me on saskia.johnston@sableinternational.com, or my number is 0207 759 7541. Hi, I'm Helen Prosper. I'm a health coach and I support people to take back control of their health so they feel radiantly well and vibrantly alive. Because it's from that place of health that we really can do more, be more, give more, play more, and co-create a better world. If living your life to the full is of interest to you, then take a look at my website, livewellandprosper.uk, and let's speak soon. Do you need mediation? We are the A-Project Charity. We provide conflict resolution and community engagement services. Our services include community mediation for neighbor disputes, family mediation for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea project.co.uk. Women's Radio Station can give a voice to your brand with a wide range of sponsorship opportunities, including individual programs, we can tailor your experience to you. For more information on how you can sponsor a show, go to womensradiostation.com. Women— the possibilities are endless. That's what makes us different. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you are looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Zhenya, an amazing Russian composer and pianist. So, Zhenya, we were talking about your album Babylon and the music that you've been playing. So there is a question that I ask to everybody. What was the most exciting moment in your career? Oh, that is very hard because I had lots of very exciting moments. I think one of the groundbreaking was my debut, London debut in South Bank. It was in Park Lane Artists Series, and I got— I don't know if you know how you get selected. You go and you do an audition and then you got you, as an award, you get London debut basically. And I was a student at that time. And first I went as an accompanist, well, not accompanist, a chamber musician with a violin player. And then they call, when we applied, they called us and said, why don't you apply as a soloist? I said, okay, I'll try to apply as a soloist, but I wasn't really into contemporary music. And the irony was that at the end I got it as a soloist. A solo artist. Okay. And I had to come up with the program of contemporary music. Okay. And I wasn't into it at all at that time, and I thought, oh my goodness, what am I gonna do? And that's how everything started. I played, of course, Russian contemporary music, which was— it's now, it's not that contemporary, but at that time I played Gubaydullina Sonata, which I adore. Amazing. And I went with Ostrovskaya, all the Russian you know, women composers. I'm so jealous of your accent when you say these composers. Thank you. And that was groundbreaking, A, because it opened a new world of contemporary music for me, and B, I was very lucky, I got amazing reviews, which really launched my career. That's one of the— But there is something else, I mean, I know that the music of your album has been featured in amazing TV series. Do you want to tell us about— and how is it when they say, actually, we're going to play your song for this or for that? Oh, it's very exciting because, you know, it is quite unique. I, I like cinema, I like television. It's— I'm a bit on the obsessive side. And, uh, I— yes, I was very lucky when I was told that it was selected. Aphrodite was selected to be on the background of Killing Eve series. That is one of my favourite series. I love the spying thing. Absolutely. So what do you think about classical music today? I mean, you see, you were telling me that your parents says, no, you need to concentrate on this, no, you need to concentrate on that, you need to choose. Now, do you think it's true you need to choose, or actually you should try to diversify as much as possible. I think you should try to diversify as much as possible, but at the same time, whatever you do, if you do it well, you need to be professional. And to be professional takes time. And I think at the end of the day, it's really a matter of time. Yeah. And ability. How many lives you have as well. Exactly. Exactly. Yeah. You know, and organizing yourself. And I also think rest is important Because the problem with the society right now, actually with child education, what I can see, that parents want children to do everything. I see. And then these children end up at age of 14 going and seeing psychotherapists because they feel that they don't have any space for themselves. So I think you need to play, work and play balance is also very important, you know. So you got— I'm a person of not— I don't think it should be extreme. No, you know, you shouldn't be just in one thing if you want to do more. It's absolutely amazing. And I'm the person who always wants to try everything. Yes. But on the other hand, you do need to know when to say that's enough. Absolutely. And perfect your skills. Can I ask you, do you have— do you want the most challenging moment in your career? Yes, it was playing Rachmaninoff Rhapsody on the scene by Paganini. Oh, yeah. Because I was told that I would never be able to do it by my teachers because my hands were too small. Yeah. And of course, all I wanted to do is to play this piece. And I was still a student at the Guildhall School of Music. So I had an opportunity to play with the orchestra and conductor without knowing about all these problems, my internal problems. He said, what do you want to do? I said, Rachmaninoff Rhapsody. And so I had a date. I had a date and I went to see my teacher and she was like shocked. She said, what are you going to do? And that's how, to cut the long story short, you know, I mentioned Iole Piano Yoga. That's what made me create piano yoga because I was trying to find a way to stretch my hands. Well, you mentioned to me but not to our listeners. So what is piano yoga? Piano yoga is a way of playing piano which incorporates holistic approach. So you take into consideration the body of a musician and the mind as well. But at the same time, obviously, it gives you a very solid classical education. So it's not the airy-fairy technique, it's a technique, but it was a slightly different approach. And that helps you stretching more? Yes, because there are physical difficulties in the repertoire, particularly when the music is written by an amazing concert pianist like Rachmaninoff. Exactly. Or Liszt, for example. They were very tall with very big hands, and they were writing music for their hands. Of course. And then everybody else is like, either you can jump and run as fast as I can, or you just don't do it. Don't play my music. And that's a pity because music is fantastic, isn't it? Absolutely. Absolutely. There was Liszt actually who made transcription of his Trascendental Studies for his female student who had a smaller hand. So there is version For— so he knew about that. But yeah, I love Lestat. I love Lestat. No, they're our favorite. So what was your most— what would you say are the pros and cons of your career? Well, I think the pro is that, and I think being in London allowed me to do this, this is one of the pluses of being in London, that you I, if I want to do something, I just do it. So if I want to perform, I perform. If I want to compose, I compose. If I want to develop piano yoga, I do that. I took a few years to become a qualified yoga teacher, took 2 years of my performing career. So that's the pros. The cons is again balancing the time and taking responsibility for everything you do, because you have to, you know, you have highs and lows, and when it's high, it's great. When it's low, you still you know, you have to take responsibility. So we want to listen to Aphrodite. Can you tell us about the title? Why Aphrodite? Well, you know, it's a goddess of beauty. And so it was inspired by the image of this water coming, a woman coming out of the water, you know, from Botticelli. Not necessarily, no, because Botticelli was— yes, yes, of course. But Botticelli, I think, was inspired by the myths. Yes, because it's a history how she was born. I thought you had the image in your mind. Yeah, but not that image. Yeah, not that image. Yeah, and so that's kind of in the music you can see, and then she had lots of layers in her, so that's what inspired me to write it. Then let's listen to Aphrodite. Women's Radio Station is a fresh new broadcasting platform driven by love and passion, connecting women around the world in a global network. Is all about diversity, from opinions, career, ethnicity, education. We aim to show the individuality of every woman everywhere, providing opportunities and a platform platform for your voice. 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If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Genia, and Genia, we've been talking about— we just listened to, before the advert, to this amazing piece, Aphrodite. So you mentioned that has been used in this famous TV show Killing Eve, right? Yes. You said something else too. Yes, it was also used in a British TV series called Cold Feet. That is another huge television series, yeah. Yes, it is, and I like it. It's coming on the background when the main character is breaking up with his girlfriend and she throws a glass of water straight into his face, and my music is on the background. I thought it was very effective. So it's very effective. It's also funny because, you know, you're talking about beauty and that's about, you know, breaking out. That's true. So now it's time for the odd question. Um, what's your strangest hobby to free or relax your mind? Do you have any? Well, I have lots of hobbies. Uh, well, again, I do yoga, so that is, um, I love doing yoga. Or I watch TV series. All right, that's how I relax my mind. Me too. Yes, I love, and I love Cooking, actually. It's something new I started because I haven't cooked. I only started cooking properly a couple of years ago. Okay. I never cooked before. I wasn't interested. Oh, wow. But now it gives me some kind of satisfaction. No, I adore cooking. The good thing is when I try very complicated recipes, you have to focus on it. So it's the only thing that really makes my mind to be completely free from any work. Yes. Piano or whatever. And plus, at the end, you get to taste something delicious, isn't it? Absolutely, absolutely, yeah. And do you have any ritual or superstition before going on stage? I wouldn't say— no, I don't have superstitions. I do have rituals because I'm trying not to talk too much. Okay. Which is very hard for me, as you can imagine. All right, for me too. And any funny moment or embarrassing moment? I can tell you a funny moment because I had this amazing friend who helped me to clean my house and she was not a musician at all. So I was composing Babylon and the main track and I thought, oh, what do you think about it? And she was mopping the floor and she put her mop and she said, you know, Zhenya, it really stresses me out the way it starts. It's too intense. It would be much nicer if you kind of let people to get into your music. And I said, okay, and I wrote that intro. And now people say to me that intro is one of the best pieces I ever wrote. That's very funny. Thanks to your friend mopping the floor. Yes. You never know where artistry can come from, isn't it? Exactly. Inspiration, I mean. Yeah. So what is your next project? So the album is coming on the 29th of March. That is this week. Wow. In this week, and I wanted to coincide with obviously what's happening and hopefully not going to happen on the 29th, but my album is happening. It's quite a special date. Yes. And then I'm going to celebrate it with a little performance, just 20 minutes on the piano day, because it's a big piano day happening again in Treehouse Shoreditch. And audience is invited. I think it's £5 per ticket, but there are lots of pianists going to play and I'm just going to do 20 minutes at 8 o'clock, 8 PM. And then— which day, sorry? It's 29th of March. Ah, the same day. Yeah, it's the same day. This is why when they invite me— catastrophe, catastrophe. Well, they call it Piano Days, they're celebrating piano. Catastrophe Day. Yes, and then I have a big show on the 9th of May at the other palace, and that I had to book just because this show which you came to the launch was sold out many times over, and I was looking for a bigger venue somewhere central, and I'm really happy that I got this, and the tickets are going on sale from the 1st of April. That is fantastic, 1st of April. So are you already composing new music? Yes, on that show on the 9th of May, I'm gonna present 5 of my new compositions. 5. Yeah, 5. Wow. Yes. And do you already have a title of your next album or? No, not yet. Not yet. Not yet. All right. Shall we listen to Babylon then? Sure. And this was Babylon, the soundtrack, title track of the new album of Xenia. You, if you have any questions that you would you would like to ask to our guest for our Future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioSTN for a chance to win 2 tickets of our concert of the finalists of Future Classic Women Awards. A big thanks to our guest Zhenya for the great chat and the beautiful music played today. Thank you, it was fun. Uh, you've been listening to Future Classic Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. The nominations are closed, but you can listen to all the nominees that we had so far on the SoundCloud channel of Women's Radio Station. You can find it through the— my presenter's page on Stefania Passamonti Future Classic Women Awards on womensradiostation.com. Thank you again for listening. Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. 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